![]() ![]() I was only half-awake, and it was a few days before Christmas 2018. So when I received an email from Ben Thompson, the shorts programmer, I couldn’t tell if it was a dream. The entirety of the shop scenes, the bulk of the film, was shot in one day. The whole process, from first draft to completed film, took 8 weeks. We had made this film for the love of it, without expectations. ![]() Q: What does it feel like to have this film be selected for Tribeca in what is an extremely competitive year?Ī: It felt unreal. As Michelle said, they are playing a version of themselves. They also brought those amazing flame pants, the Einstein hoodie, and that shock of gorgeous blue hair. Michelle was great with improv and had an innate understanding of the character. We had Michelle rehearse on separate days with Hannah, who plays their girlfriend, and Lee, who plays the store owner. I think they were a bit afraid of me at first! Then after Michelle read the script and saw the treatment, they said: “I am Julia!” After their audition, there was no question Michelle was meant to play Jules. Then, after a long bathroom queue, they came out of the stall that I was about to enter! I stopped them there and then, lest they disappear again, and asked them for their number. I noted to myself to approach them after the screening, in which they sat in front of me, but when the lights came on they were gone. I saw Michelle in the foyer, though wasn’t sure at the time it was the same person I’d seen on StarNow - their hair was completely different. Then later that day I went to ACMI for my friend Abu Bakr Shawky’s screening of his debut, Yomeddine (2018), at Melbourne International Film Festival 2018. I had seen a photo of Michelle on the casting website StarNow that morning, and ‘starred’ them. #Cast of a perfect day film series#What was Michelle like to work with?Ī: I first accosted Michelle in a public bathroom, two weeks before the shoot! It was one of those cosmic series of events that make you wonder if there really might be a ‘film god’. Q: Michelle Keating gives an incredibly nuanced performance to capture this moment of vulnerability for Jules. ![]() For the cool tonal palette, I shared a lot of references from Fish Tank (2009) and Winter’s Bone (2010) with Alice Stephens, Eleanora Steiner (production and costume designer), and Abe Wynen (colourist), which they then interpreted and expanded upon. Texture is important to me, so we tried to add grittiness through the use of aberrated lenses and dirtied foregrounds to create a sense of obscurity.Īlthough I storyboarded everything, I knew Alice’s documentary background and empathetic eye would intuitively be able to translate anything we needed to get on the fly -for example, when I was talking to the actors, Alice could get atmospheric cutaways for the edit. The claustrophobic close-ups are meant to place the viewer in their perspective and create that tension. Can you talk about the vision yourself and Alice Stephens (DP) had for the look of ‘This Perfect Day’?Ī: I wanted to create a subjective experience that captured the heightened emotional stakes for Jules (played by Michelle Keating), this moment that they had been building up to. Q: A lot of the film is spent in tight close-ups. ![]()
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