Brendan Steacy and Jody Colero Still Mine Interview

Brendan Steacy and Jody Colero Still Mine Interview

Cast: James Cromwell, Genevieve Bujold, Campbell Scott
Director: Michael McGowan
Genre: Drama
Rated: PG
Running Time: 102 minutes

Synopsis: Michael McGowan's Still Mine is an exquisitely mounted and deeply affecting love story about one man's determination to create a suitable home for his ailing wife. Veterans James Cromwell and Genevieve Bujold are nothing short of magnificent in the story of a couple with a deep and complicated past.

When her health begins to fail, Craig Morrison is faced with the choice of either building a new, more suitable home for Irene or leaving the farm they have lived on for decades. A skilled carpenter, he imagines the only obstacles he faces are time and the weather. That is, until he meets Rick, a government inspector who makes it his personal mission to halt construction on the new house.

In a cinematic world obsessed with youth, Still Mine is in part about the battle between heritage and modernity and a refreshing look at the value of commitment and long term relationships. Craig and Irene's relationship is far richer because of the past they've shared.

Their conversations are changed, direct, and laden with subtext – not the kind of empty, verbal jousting we might see in a contemporary romance. They need all their wits about them as Irene becomes increasingly ill. Amidst a series of stop-work orders, Craig races to finish their house. Hauled into court and facing jail, Craig takes a final stance to save his home.

Still Mine
Release Date: June 6th, 2013
Website: www.umbrellaent.com.au

Interview with Cinematographer, Brendan Steacy

Question: Can you talk about how the cinematography reflects the film's story?

Brendan Steacy: Because a part of this film deals with the difficulties and complications of being displaced at a certain time in one's life, I wanted to be really careful in dividing the colour palate and feel of the locations and moments into those which are familiar, and welcome, and those which are not. We tended towards warmth in the lighting and tones of Craig's town, home, and anything he was intimately familiar with (especially in moments shared with Irene). We veered fairly steeply in the other direction, however, for scenes in which Craig is meant to be completely out of his element – the courtroom, and the permit office being the two most radical and obvious places.


Question: Were there any challenges to shooting in both Northern Ontario (which stands in for New Brunswick) and New Brunswick?

Brendan Steacy: Where we wound up shooting in Ontario was a completely amazing strip of a small highway (made up of a few towns) that welcomed us in, and completely charmed the entire crew. The only real challenge was that there was no cell service, or internet to speak of anywhere near set, but everyone became quickly accustomed to it, and on some levels maybe even began to enjoy it.


Question: Do you have a favourite scene that you shot? And why?

Brendan Steacy: Probably my favourite scene to shoot was Craig getting his haircut by Irene in his new house. Because the house was actually built for the film, we had to shoot any scenes in which it appears chronologically, so by the time we got there we'd already shot the house at various stages of its completion and had all been on this journey with Craig. There was a really nice sense of relief and even pride to be in the house with them and know that they'd found a way to make it work despite everything.

Interview with Music Supervisor, Jody Colero

Question: What kind of direction did Michael give you about the music he wanted for the film? How was it achieved? And how does it reflect the title 'Still Mine"?

Jody Colero : From the very inception of the project, Mike's approach to the music was wide open, with a 'let's wait and see" attitude. That's a refreshing change for music people. It allowed Mike and I to really focus on the role of the music for the film, without preconception. At the time Mike was writing the script, he was listening to Mumford & Sons (whose song is used during a funeral scene) quite a bit, and it informed a certain authenticity of sound that I felt was important to maintain with the score. As well, the movie takes place in a rural setting, on the East coast of Canada, so those influences needed to be addressed as well. Once we saw the kind of movie he'd really made, it was clear that we need a score that would reflect the intimacy and elegance of characters, and yes…the -stillness' of the setting.

A friend of mine, Hugh Marsh, played me a few tracks from a new band he had formed called Three Metre Day, and from the moment I heard it, I knew it was simply the right sound for Still Mine. The band's sound is made from a curious concoction of violin, pump organ and guitar, and ethereal guitar effects. The combination infuses the Acadian sensibility without being corny, and gives us a very grounded pallet to work with.

Our main characters are in their late eighties, so any time we add music to their scenes it was an imperative that we captured their spirit and not play to the sympathetic note. Michelle Willis, Don Rooke, and Hugh Marsh are all accomplished players in their own right, but together they have created a score for us that we believe adds wonderful character to the story, and helps the audience really feel the moments, emotionally.


Question: Do you have a favourite moment – music wise – in the film?

Jody Colero : My favourite musical moment in the film is the scene where Geneviève and James are in two different parts of the house after arguing, and they both look down at their wedding rings. The music in that scene connects the two emotionally and allows us a glimpse into an entire life spent together and the depth of love and connection they share. It's quite magical to me…heartbreaking, and at the same time, inspiring.