Director, writer, and editor MATT CASCELLA and screenwriter JEN CORDERY discusses the indie gem HANGDOG in this exclusive interview.
SYNOPSIS: Walt (Desmin Borges, Only Murders in the Building, FX’s You’re the Worst) is a fish out of water in his own skin. He’s now also a fish out of water in Portland, Maine, having recently moved with his girlfriend, Wendy (Kelly O’Sullivan, Ghostlight, Saint Frances), to be closer to her parents. Without a job or a plan, and with a new dog competing for Wendy’s affections, Walt has reached peak anxiety. When Wendy leaves town for the most important business trip of her career, she entrusts Walt with one task: taking care of her fur baby, Tony. After a careless mistake gets Tony stolen, Walt embarks on a wild goose chase to retrieve the dog before Wendy returns, or risk losing them both. Along the way, he connects with locals Marianne (Barbara Rosenblat, Orange is the New Black), a wisecracking nonconformist, and Brent (Steve Coulter, Oppenheimer), a recent widower, who force him to confront his anxieties and embrace human (and canine!) connection.
Directed by MATT CASCELLA and written by Cascella and JEN CORDERY, HANDOG stars, among others, Desmin Borges, Kelly O’Sullivan, Barbara Rosenblat, Steve Coulter, and introduces Mr. Tibbs as “Tony”.
In this exclusive interview, the husband and wife filmmaking team of MAX CASCELLA and JEN CORDERY dive into their creative processes with making HANGDOG. Inspired by Portland, Maine, they crafted the story about a man named Walt who finds his comfort zone by searching for his girlfriend’s stolen dog, Tony; of course, it’s Walt’s fault that Tony was stolen as he left him unattended outside on the street. The film’s visual style, influenced by their documentary background, emphasized simplicity and authenticity and is effectively brought to life by cinematographer Nathan Golon. Casting Biggs and O’Sullivan was crucial to this story, with Barbara Rosenblatt and Steve Coulter adding depth not only to the story with their interactions with Desmin’s Walt, but to the character of the town. Rescue dog Mr. Tibbs is a natural as “Tony”. The editing process was tight, with Matt handling both directing and editing, while Walter Martin’s score complemented the film’s tone, enhancing the narrative without overpowering it.
Digging in deeper, Matt and Jen discuss, among others:
- selecting Portland, Maine for the setting; Jen and Matt moved to Portland from NY and were creatively inspired by the city with its distinct spirit
- Matt has been ruminating for years on the story of a guy getting his girlfriend’s dog stolen
- the visual style of the film; leaning into their own documentary background, Matt wanted to keep the visuals “simple and unadorned” as opposed to going a flashier “tourism imagery as the film was more about people and performances; keeping the film in Walt’s POV as a “fish out water” experiencing Portland for the first time, they aimed for a straightforward, matter-of-fact approach to the camerawork, allowing the location and characters to shine without excessive embellishment.
- casting challenges; the lower budget and filming in Maine during “mud season” presented challenges in getting actors to come on board; securing their top choices of Biggs and O’Sullivan; difficulties in casting the role of Brent
- ensuring authentic relationships and performances; improvisation and flexibility during filming to let the actors’ natural rapport and banter shine through; Jen’s presence on set as a “script supervisor” and “odd co-director” ; feedback from test screenings to ensure the performances and relationships felt genuine to the audience
- the editing process; Matt taking a break between directing and editing, rather than piecemealing scenes during the shoot, only looking at one scene over a weekend to ensure he had necessary coverage and performances; 2 1/2 to 3 months in editing; Matt being conscious of not over-editing or “overcooking” the film, as he was aware that too many versions can make the film lose its soul; Jen’s second set of eyes during the editing process; feedback from the producers and test screenings with collaborators and non-film people to get outside perspectives
- Walter Martin’s score; Martin’s songwriting style and work with the band The Walkmen; creating a distinct and singular quality and avoiding typical tropes; a score to contrast the film’s tense moments and helping to maintain the overall lighthearted tone
- directing Mr. Tibbs as Tony; working with the dog’s trainer to go over the script and flag any scenes that would be particularly difficult. The trainers would suggest alternative approaches that didn’t affect the story but made things easier for the dog; being mindful of the dog’s energy levels and not run too many takes as the dog could get overheated, especially in crowded scenes; Mr. Tibbs’ controlled diet
- and more!
TAKE A LISTEN. . .
by debbie elias, exclusive interview 10/16/2024
HANGDOG is now available in select theatrical screenings, as well digitally and on VOD.
