Q & A
Q: Huntington's disease isn't an extremely well-known illness. What inspired you to tell a story framed around this condition?
AD: Near Silence was inspired by a woman named Carol Carr, who was imprisoned for the assisted suicide of her two sons, who had Huntington's Disease. Although the devastating illness became the backdrop of my film, it was Carr's complex devotion that compelled me to write the script. The intricacy of love and finding beauty in darkness are themes I continually examine in my personal life.
Q: Why did you choose to incorporate dance into the story?
AD: Huntington's disease was originally called Huntington's chorea, which means dance or choreography in Greek. The term refers to the involuntary, jerky movements that are comparable to dancing or piano playing, which can develop in the later stages of the disease.
While doing research for my film, the word chorea became the catalyst for my artistic vision of Near Silence. My aim was not to create a dance performance piece, but rather to integrate elements of dance in a narrative film. I wanted to depict the incessant and involuntary dance that naturally takes place between a person with Huntington's and their caretaker.
To complement the dance elements, I decided to emphasize musical interpretations of the environmental sounds in the locations. This direction was influenced by one of my favorite films, Dancer in the Dark.
Q: This isn't your first film about a really tough subject. What compels you to tell such thought-provoking stories?
AD: I am motivated by the power films have to help people better understand themselves, others, and the world we live in; so as a writer and director, I find it much more interesting and challenging to explore and tell stories that answer questions with more questions. This might mean touching on difficult and taboo topics.
Q: When was the moment during this entire process that you knew your film had something really special?
AD: When we were done editing, I was in a daze and exhausted. I was also anxious to show the film to someone who didn't work on the production. I immediately went to CineVic, the co-op of independent filmmakers, where I am a member. I asked our Executive Director, Bryan Skinner, whose opinion I respect very much, if he wouldn't mind watching my film. We projected Near Silence onto a large screen. Bryan was moved to tears. He hugged me afterwards and said, "You make me very proud to do what I do. This is why we make films."
Q: How have you grown through and after creating Near Silence?
AD: Artistically, Near Silence was my most challenging and ambitious film to date and the film turned out better than I imagined. I couldn't have accomplished this without the talent and generosity of everyone who helped make it. So, foremost, my sense of gratitude has increased tremendously with this project.
The production was a valuable learning experience for me in many areas. It was my first time to apply for grants and I am now more knowledgeable and confident with the process. It was my first time to film dance, and work with the Red One Camera and the Stedicam, all of which I now have a better understanding.
I also grew in the way I communicate with actors. I was working with theatre actors who had limited camera experience (this was our lead actress's first film.) Some of my directions were misunderstood, and I realized afterward, how I could have been clearer with my explanations. Additionally, I recognize things I could have done better as a producer that would have alleviated some of the stress during filming and editing. After making this film, I feel more confident and courageous to approach my next project.
