An in-depth exclusive conversation with writer/director, editor, and composer MIKE CUENCA talking his delicious new pulpy noirish thriller LIKE A DIRTY FRENCH NOVEL.
MIKE CUENCA does it all, and with his new film, LIKE A DIRTY FRENCH NOVEL, does it all extremely well. A story idea brewing for the past 15 to 20 years, Cuenca teamed up with his collaborators Ashlee Elfman and Dan Rojay and with Rojay hammered out a script during the pandemic lockdown. While this may be a true lo-budget/no budget/micro-budget film, Mike and company shot LIKE A DIRTY FRENCH NOVEL in six days at the end of October/beginning of November 2020, delivering standout production values, most notably with this story construct and seemingly anthological design, and exemplary lighting and lensing by cinematographer Jessica Gallant.
Described as a “riveting, high-energy mix of Pulp Fiction and Lost Highway”, LIKE A DIRTY FRENCH NOVEL follows the stories of a sexually-charged phone operator, two estranged twin brothers, and a cosplaying femme fatale. With a cast that boasts the talents of, among others, Jennifer Daley, Robby Valls, Brittany Samson, Claire Woolner, Laura Urgelles, Amanda Viola, and Grant Moninger, LIKE A DIRTY FRENCH NOVEL marked its World Premiere at the 2021 Dances With Films festival.
I spoke at length with MIKE CUENCA just three days before the film’s premiere, digging in deep into the “making of”, including:
- story concept
- scripting and chapter breakdown (complete with interludes!)
- shooting during the pandemic
- visual design and cinematography
- the tools in the director’s toolbox
- wearing multiple hats
- casting
- costume design
- editing
- scoring
- and more. . .
TAKE A LISTEN. . . . .
by debbie elias, exclusive interview August 25, 2021
