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An Interview with Gabrielle Rosson, Director of Salvation

by Mike Haberfelner

April 2020

Films directed by Gabrielle Rosson on (re)Search my Trash

 

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Your new movie Salvation - in a few words, what is it about?

 

Salvation is a buddy movie with a twist. I always tell people it’s about friendship, betrayal, and revenge. But there’s more to it than that. It’s also about karma and facing death with dignity.

 

Salvation is actually based on an original script called "Fink" by your lead actor Kris Salvi [Kris Salvi interview - click here] - so how did you happen upon the script, and how much creative license did you take/were you granted rewriting it?

 

Kris had reached out to me after seeing a trailer for my film Get Up Eight. He approached me as an actor, but I quickly learned he was a brilliant storyteller. I fell in love with his face right away and knew I was going to cast him in my next film, but I was having trouble finding the time to write it. Maybe he just got impatient, or maybe he trusted me enough to show me his work, but eventually he presented me with a couple of scripts—one of which was Fink. It’s funny but, the truth is, I didn’t like it at first. It wasn’t until two days later when I couldn’t get the story out of my head that I said I have to make this movie—but I want to do it my way—and that meant placing the story in one of my favorite eras, the 1950s, and re-writing the dialogue.

 

With Salvation in its essence being a gangster movie, is that a genre dear to you, and some of your genre favourites?

 

I’m a new filmmaker, so I haven’t been associated with any one type of genre—yet. My goal right now is just to explore them all if I can. The common thread in my work is human behavior. I’m fascinated by human emotions and relationships, and this film really allowed me to explore them. Gangsters behave one way on the surface, but they’re very complex people underneath. With Salvation I had two characters, so very different from one another. And even though they had committed the same crimes, lived the same life, they processed their experiences in their own way—and I just love that.

 

With Salvation being a period piece, how easy or difficult as it to find the right locations and props and those beautiful vintage cars?

 

Period pieces are not for the faint of heart. I typically do all my own location scouting, costuming, set design, props, etc—so this film was really challenging in that respect. It was just a lot to manage. But I’m lucky to live and work on Cape Cod where there are so many talented filmmakers and creatives; it was through word of mouth that I found the historic Mills Pond Diner, and the cars I located through my local car club. I’ve had really good luck bringing my visions to life—but a big part of that is I don’t shy away from rejection. What’s the worst anyone can say: no? My mother was a saleswoman and she always told me every “no” brings you closer to a “yes”. So I always tell people, set your production goals high—because you’d be amazed what you can pull together with a little effort.

 

What can you tell us about your overall directorial approach to your story at hand?

 

I learn more about directing every time I do it. One of the most challenging aspects for me has always been getting what I see in my mind to match the image in the monitor. But with this film I had very clear shots I wanted to execute, and I feel like I got them. Still, even though I had a plan for almost every scene, some of my favorite shots were the ones we improvised. And my directorial approach is really to focus on the acting. The actors do their work at home, and then I do mine, by reinforcing what I believe are their characters’ motivations on set. Usually what they have in mind and what I have in mind is very close—and we meet somewhere in the middle. But it’s a real skill to direct an actor, because you have to communicate what you want from them without throwing them off or making them feel like you don’t trust their choices. As someone who has acted, I redirect rather than criticize, because I know how hard it can be to perform well under pressure.

 

Do talk about your cast, and why exactly these people?

 

Kris Salvi (Salvatore) [Kris Salvi interview - click here] is an amazing actor, and I’m not just saying that because he’s my boyfriend—I really really admire him. He knows exactly how to play a movie villain, but it’s never two-dimensional. I’ve never seen anyone work as hard as he does to develop a character. Justin Thibault (Santo) has been in numerous films with Kris and is, honestly, one of the most amazing actors I’ve ever had the privilege to work with. He can literally do any character he’s presented with, and he takes risks. He knew full well he had a drowning scene in this film, but he didn’t let the fact that he doesn’t know how to swim stop him from taking the part. Paul Kandarian (Ciro) is an incredible actor, and I’ve worked with him before, but I had no idea he could do what he did with his voice. He far superseded my expectations for that character. Sarah Morse (Bambi) and Juliette Tittel (Waitress), made their acting debuts in this film, and were both cast for their exceptional beauty. Sarah was a natural with her classic pin up figure, and Juliette just embodies wholesomeness. Neither one of them had any lines, so it was really important that I cast women who could speak to the audience without ever saying a word.

 

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A few words about the shoot as such, and the on-set atmosphere?

 

I truly believe I work with the best people around! The Cape Cod crew is a force to be reckoned with and our shoots are always a blast. I just want to shout out everyone who worked on this film, especially Manx Taiki Magyar (DP), Isabelle Caplan (AD), Emily Tullock (sound), Chris Ledda (gaffer), Mike Hansen (assistant camera), Jay Sheehan (sound editor), Ian Rashkin (score), and Geoff Bassett (colorist).

 

The $64-question of course, where can your movie be seen?

 

Salvation has been submitted to the film festival circuit for 2020, so as of right now there is no way to see it online. But you can watch our trailer and check out awesome movie stills and behind the scenes videos on Facebook or Instagram at @salvationtheshortfilm

 

Any future projects you'd like to share?

 

There are future projects in the works, but they’re all on hold right now due to COVID-19. I’ve seen a lot of filmmakers speculate that this disease will destroy the indie film scene, but I beg to differ. Indie filmmakers are a special breed—and our spirit, drive, and passion for art will far outlast this epidemic. In fact, I fully expect all of us to have some incredible stories to share when this is all over.

 

Anything else you're dying to mention and I have merely forgotten to ask?

 

I feel like I’ve probably rambled enough haha, so I’ll simply add that I’m grateful for the opportunity to discuss Salvation, and that I truly appreciate every single person who helped bring this story to life (you know who you are).

 

Thanks for the interview!

 

© by Mike Haberfelner


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Thanks for watching !!!



 

 

In times of uncertainty of a possible zombie outbreak, a woman has to decide between two men - only one of them's one of the undead.

 

There's No Such Thing as Zombies
starring
Luana Ribeira, Rudy Barrow and Rami Hilmi
special appearances by
Debra Lamb and Lynn Lowry

 

directed by
Eddie Bammeke

written by
Michael Haberfelner

produced by
Michael Haberfelner, Luana Ribeira and Eddie Bammeke

 

now streaming at

Amazon

Amazon UK

Vimeo

 

 

 

Robots and rats,
demons and potholes,
cuddly toys and
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love and death and everything in between,
Tales to Chill
Your Bones to

is all of that.

 

Tales to Chill
Your Bones to
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a collection of short stories and mini-plays
ranging from the horrific to the darkly humourous,
from the post-apocalyptic
to the weirdly romantic,
tales that will give you a chill and maybe a chuckle, all thought up by
the twisted mind of
screenwriter and film reviewer
Michael Haberfelner.

 

Tales to Chill
Your Bones to

the new anthology by
Michael Haberfelner

 

Out now from
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