Suze, Premiering at the Santa Barbara International Film Festival
Together, Linsey Stewart and Dane Clark are a prominent force in the film industry, both serving as writers and directors on their projects. Their most recent feature “Suze” tells the story of Susan, a woman whose only child has gone off to college and through a chaotic series of events is left caring for her daughter's ex-boyfriend whom she can’t stand. The film follows their unlikely taking to each other and reminds us not to judge a book by its cover.
As a writer/director duo, how did you discover your chemistry as a team and decide to join forces?
Well, let's see, we met a casual fifteen years ago at the Canadian Film Centre during our time in the Writer's Lab. We wouldn’t say the chemistry was palpable right out of the gate, partly due to the fact that we were both dressed so horrifically back then and partly because we’re both a little awkward (but like in a mostly cute way). Then gradually, and many subway commutes later, a friendship formed, and we just started talking about stories and films we loved, and it became clear that we shared similar tastes and sensibilities. When a director asked us to write a short film for her, our writing styles complimented each other and it sealed the deal. Instead of being stuck in a room alone by ourselves, we were stuck in a room together, but in this room we got to exchange ideas and make each other’s words better, and stare into each other's eyes, and it was goddamn nice! So nice that we decided to do it again, only this time we added directing to the equation and made our first short film together called “Long Branch.” It’s loosely based on us but with more interesting, attractive people. From then on, we’ve just kept making stuff together. Oh, we got married to each other, just to be clear. It’s a beautiful thing being able to create things with your partner. It’s not always easy, mind you, but it works for us. And dare we say the chemistry is now palpable.
What are the benefits, or challenges of being a creative duo, compared to taking on a project alone?
First and foremost, being a creative duo makes things less lonely. We’re still staring listlessly at computer screens for hours on end, but we have each other while we do it. And that’s nice. Probably the biggest asset though is having somebody to bounce ideas back and forth with - that’s immensely helpful. Not only because that other person holds you accountable and forces you to wake up from your afternoon nap (very important), but also, it makes the work better, in our opinion anyway.
Often when you’re creating by yourself, you can get stuck in a certain way of thinking or approach. By having another brain at your disposal, you get to break free from those chains and see things from a different perspective. While we have a shared sensibility, our two brains work differently, which is great because we bring different things to the table. Also, when we’re not feeling it, we have each other to help give us a boost. Now let’s be honest, that person giving the boost is often Dane, but we try and lift the mood for the other during those times when there’s been one too many rejections or when shit gets dark for a second.
Speaking of dark, probably the biggest challenge of working together is that we can’t escape the work, so it’s hard to separate the business from the personal sometimes, and that can get a bit depleting. However, going through all the highs and lows together has created a deep understanding of each other that maybe not all other couples have. It’s all a balancing act, and we’ll probably never master it in this lifetime, but don’t worry, we’re still having fun.
Speaking of duos, your latest feature “Suze” tells the story of an unlikely pair realizing they have more in common than they realized. What was the inspiration behind the film?
We’ll be honest with you, in 2018 we got sad. Personally, professionally, spiritually. Projects were stalling out in development hell, and we weren’t writing from that place inside ourselves that got us into this business when we were young and naive and making super cheap shorts out of love. So, we decided we wanted to get back to the basics and tell a pure story that just kept burning inside of us and not worry whether it was big enough or going to be a box office hit.
In terms of the story, we knew we wanted to tell a platonic love story about two unlikely people who were hurting in different ways and helped each other out of their darkness. We also knew we wanted the lead to be an empty nester going through perimenopause, because we don’t see enough coming of age movies for women over forty- However, we couldn’t find the exact equation of whom she was paired. Then one day, the idea of this woman getting stuck taking care of her daughter’s suicidal boyfriend whom she can’t stand miraculously popped into our heads, and it tickled us. Things then started to come alive. Now, obviously this exact story didn't happen to us, but there are so many personal elements. From our struggles with mental health, to not being able to have kids ourselves, to the people in our lives who helped pull us out of our own darkness. Also, there’s something perpetually enticing about mismatched duos, and we loved how these two characters were both left behind by the same person and had to help each other re-discover who they are. So, we just kept writing.
With either the creative process or the finished product, how has creating this film compared to some of your previous features?
This was probably the best experience overall. We had supportive producers, a fabulous crew, a talented cast, and everyone trusted us and supported the movie we wanted to make. Of course, there were a thousand hurdles, and we thought at one point this film would never get made, but we’re beyond grateful we got the chance to make this movie. This one feels like the best representation of our voice, and there’s something satisfying about seeing the work- and ourselves continue to evolve. God willing, the evolving doesn’t stop here!
One of the most notable elements of this film is the casting, with each role being extremely believable. What is the casting process like for the key roles?
So glad you found them believable. That was definitely the goal, and we were stressed about getting it right. We’d been massive Michaela Watkins fans for over a decade and thought she would be one of the few that could nail that dry comedic tone we were looking for. She has that natural presence, is funny as hell, and can play that sad underbelly we love. Our U.S. casting directors, Meg Morman and Sunny Boling, agreed. We sent her the script and, thankfully, she responded to it and wasn’t afraid to come to Canada for a month to make this come true. It’s always intimidating to work with actors who have been on massive film sets, but thankfully Michaela was such a pleasure to work with and has been such a champion of the film.
Charlie Gillespie we didn’t know at all. Our excellent Canadian casting directors, Sara Kay and Jenny Lewis, sent us his name, and we dug his work. However, it was his interviews on YouTube that really got us. He talked extremely fast and just had that magical charm and feral energy we were looking for in the character of Gage. As we dug deeper, we saw he was not only a charismatic gent but an exceptional singer too. We’re fortunate he liked the script because he was our first and only choice, and honestly, we can’t picture anyone else in the role.
As for the other roles, we feel so lucky with whom we got and what each actor brought to their characters. It was really an outstanding bunch, and we rarely use the word outstanding. Endless thanks to each one of them.
A major theme in the movie is the unlikely multi-generational friendship that grows between Gage and Susan. As directors and writers, how do you create the chemistry in seemingly unexpected relationships?
Chemistry is a really tricky thing. You either have it or you don’t. And we could lie and tell you that we created all of it, but the truth of the matter is, Michaela and Charlie just brought so much of it naturally, and we’ll forever be grateful to them. We’ll always remember our first zoom rehearsal with them and we were petrified because they’d never met, but as soon they started to say the words out loud, it just felt right. Like these were the only two people meant for these roles. But if we were to take a little credit for their sublime alchemy, we tried to get into those meaty layers for each character, determining what their ghost is and what pain they’re masking because we all know characters are always masking something. “Suze” helps Gage face his pain, while he helps Suze to start to let go of hers. It’s because they share these vulnerabilities with each other that this impenetrable bond is created. It’s transformative and it’s what makes them light up on screen.
Were there any memorable behind-the-scenes moments in creating this film that further shaped your growth as artists?
Making a movie with your spouse will either deepen your bond or destroy your marriage, so the fact of the matter that we got through another production with our hearts intact, and we still like each other, is the greatest growth of all. That’s probably not the juicy answer you want, but it’s the honest one. We’ve never worked better together than we did on “Suze,” so we’re going to take that as a win and keep growing.
“Suze” is emotionally dynamic, heartbreaking, nostalgic, and full of humor and growth, which are just some of the themes the film covers. How do you find the balance of so many elements in one script?
So many emotions, right? Here’s the thing, balancing the emotional dynamic is a fine line, and we know we can’t please everyone. Some people will find this film too earnest, and some will find it not earnest enough. We just try to commit to what’s true to the characters. If a scene starts to feel too drippy or hokey (a writer’s most dreaded words), we try and undercut it with levity, and the same thing applies to the more comedic moments, which we try to keep grounded and honest, so things don’t get too broad (a writer’s second most dreaded word). Oh, and we spent five years on the script, reading it over and over, getting feedback from talented people and fine-tuning it until it felt like something we’d be proud to put out to the world. So, there’s that too.
The movie has been screening at film fests everywhere, what has the audience reception been like?
It’s terrifying showing a film to strangers for the first time, but thankfully the audience reception has been kind and positive. They usually laugh where we hope and cry where we hope, so that’s a huge relief. And, what’s been interesting, is that people seem to be hungry for more intimate, character-led stories. It’s not that they’ve been totally eradicated from the movie sphere, but there just aren’t as many these days. Perhaps that pendulum will continue to shift because these are the kinds of stories we love to watch, you know, the real humanist stuff.
For those who haven’t seen it, what should viewers look forward to and take away from the film?
Look, we hope that people have some laughs and entertained, and it touches them the way it touched us. And, for people to reflect on who “their Suze” has been in their lives and how they helped get them to a better place. That would be a nice thing for viewers to take away as well.
Though “Suze” is still rolling out to audiences, what should the fans of Linsey + Dane look forward to next?
A movie we’ve been writing for over a decade is supposed to start filming in North Carolina in April. It’s called “MERV,” and it’s about an ex-couple whose dog is depressed because they broke up, so they try to put their differences aside and take him somewhere warm to cheer him up and end up having to confront what ended their relationship. Amazon/MGM are producing. We really hope it turns out, but we’re not directing, so it’s up to the gods.
Besides that, have some original TV shows in the works and are starting to form the seeds of our next movie, so hopefully this isn’t the last you hear from us.
Interview by Ethan Engh, Contributor, PhotoBook Magazine
Tearsheets by Nicolas Harris, Graphic Design Intern, PhotoBook Magazine
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