{"id":16091,"date":"2016-07-19T16:49:32","date_gmt":"2016-07-19T23:49:32","guid":{"rendered":"http:\/\/moviesharkdeblore.com\/site\/?p=16091"},"modified":"2016-07-19T16:49:32","modified_gmt":"2016-07-19T23:49:32","slug":"ryan-david-on-seattle-road-my-art-needs-to-be-a-reflection-of-me-exclusive-interview","status":"publish","type":"post","link":"https:\/\/behindthelensonline.net\/site\/interviews\/ryan-david-on-seattle-road-my-art-needs-to-be-a-reflection-of-me-exclusive-interview\/","title":{"rendered":"RYAN DAVID on SEATTLE ROAD: “My art needs to be a reflection of me” – Exclusive Interview"},"content":{"rendered":"

From the moment the first frames of SEATTLE ROAD appear on screen and the somber strains of violins play, thoughts of Terrence Malick immediately come to mind. But SEATTLE ROAD doesn\u2019t come from Malick. No, it comes from Ryan David, a gifted young writer\/director embarking on his first narrative feature. A filmmaker who embraces the filmmaking styles of auteurs of the 60’s and 70’s like Truffaut, Bergman, Rainier Werner Fassbinder, Soviet filmmaker Andrei Tarkovsky and, particularly, Nicholas Ray, the influences of these men are evident in every element of David\u2019s rather stylized work, starting with the story.<\/p>\n

\"seattle
Ryan David, writer\/director, SEATTLE ROAD<\/figcaption><\/figure>\n

Starring Maximillian Roeg and Julia Voth, with a notable turn by Kelly Lynch, SEATTLE ROAD is the story of a young couple, Adam and Eve, who run away together to pursue their \u201cart\u201d – for Eve it\u2019s her writing, for Adam it\u2019s his painting – and a self-perceived \u201cidyllic\u201d life together.<\/p>\n

Stemming from the death of Eve\u2019s father and her omission from his apparently sizeable estate, Eve is on less than solid emotional footing. She wants to connect with her father, even in death, especially after they were somewhat estranged in life. Heading to her childhood home located on Seattle Road, Adam goes along for the ride thanks to Eve\u2019s lies about the true ownership and status of the house in which they take up a somewhat \u201csquatting\u201d residence. Lustful passion and love drive the couple forward, but individual ambition appears to stymie their attempts at artistic productivity and emotional stability. \u00a0As drugs come into play, the relationship takes a downward spiral, preying on their innermost fears, jealousies and insecurities before coming full circle into an explosive showdown when truths about Eve are revealed, putting the relationship to its ultimate test.<\/p>\n

\"seattle
Julia Voth and Maximillian Roeg (L. to r.) in SEATTLE ROAD<\/figcaption><\/figure>\n

Non-linear in its structure, in speaking with Ryan David for this exclusive interview, I discovered that the story began for him thanks to his fascination with \u201cmemory, time and perception.\u201d \u201cI\u2019ve always been really interested in how those things come together.\u201d At the time he embarked on the journey of SEATTLE ROAD, himself aged 30, in a relationship with a screenwriter and also reading the book \u201cJust Kids\u201d by Patty Smith, \u201cthere was all these great convergences of personal experience, reading this book, seeing other relationships. . .It was a growing period. When you\u2019re in your late 20’s and getting ready to let go of your childhood and having to become an adult but you don\u2019t really want to, it\u2019s like you have a cocoon and now you have to figure out this stuff. You\u2019re not in high school anymore with the love of everyday just hanging out together. It can\u2019t be like that. It\u2019s navigating all of these things when both people are going through huge changes. Both people are caterpillars who are going to be butterflies, but they\u2019re going through that together.\u201d<\/p>\n

\"Julia
Julia Voth in SEATTLE ROAD<\/figcaption><\/figure>\n

With the story in place, something that David keenly develops is not only the rawness of the story and the characters, but the cinematic polish which, on combining the elements, creates a stunning dichotomy lending to an uncomfortable yet intimate exploration of emotionally complementing contrasts for the audience. To achieve this, David had a two-fold approach. The first was in telling both sides of the story, Eve\u2019s and Adam\u2019s. \u201cI didn\u2019t want it to be just her side or his side. She was the talker and he was the visual person. So first it was, how do I weave this story together where it\u2019s her voice telling her side of the story and his art montages, which are in his head, and are how he is creating his side of the story. The juxtaposition of him and her, and showing both sides of the same coin. . .it\u2019s keeping those two things together.\u201d The second prong was color correction. \u201cI spent a lot of time on color correction. I didn\u2019t just do one color palette. I basically, scene by scene, went through the film and would look at old photographs of the Hudson River Valley Group from the 1800’s, and we did a lot of different color changes so that as the movie went on, we colored it differently. . .I used the color and the coloring at different times to help tell the story as to where you were, especially because the movie is not in linear order.\u201d To keep the audience emotionally \u201clocked in\u201d to the story, \u201cthe best I could do was color in different ways so you can understand the emotional part. At the end of the day, it\u2019s about how you make someone feel something. They\u2019re gonna think about things, they\u2019re gonna analyze it, they\u2019re gonna say this or that, but it\u2019s how you make someone feel. To me that was really important.\u201d<\/p>\n

\"seattle
SEATTLE ROAD image courtesy of Gravitas Ventures<\/figcaption><\/figure>\n

When talking about the emotional connection of not just SEATTLE ROAD, but any story, David is quick to mention one of his all-time favorite directors, Nicholas Ray. \u201cWhat always struck me about him was his sensitivity and his vulnerability in sentimental situations. I really wanted to try to capture that the best that I could, experimenting and not closing the door on anything by saying we can\u2019t do this because it breaks this rule or this isn\u2019t the \u2018right way\u2019 to do it. I took the handcuffs off everybody.\u201d<\/p>\n

\"Maximillian
Maximillian Roeg in SEATTLE ROAD<\/figcaption><\/figure>\n

Creating the cinematic sensibility of SEATTLE ROAD led David to cinematographer Sandra Valde Hansen. Already demonstrating her skill at lighting and lensing and developing a palette in earlier films like \u201cKaboom!\u201d and the exquisite \u201cWhite Bird In A Blizzard\u201d, David calls Hansen \u201camazing\u201d as she now brings a Malick-esque visual tone and texture to SEATTLE ROAD. Looking to Andrei Tarkovsky for visual influence, David is quick to note that Hansen has \u201can amazing sensibility\u201d and was quickly on board with his vision, in large part due to his \u201cstoryboard[ing] everything\u201d thus enabling them to be \u201cperfectly in sync.\u201d<\/p>\n

\"seattle
SEATTLE ROAD image courtesy of Gravitas Ventures<\/figcaption><\/figure>\n

Expounding on the film\u2019s visual grammar, there is a visual and auditory texture that goes hand-in-hand with use of color, beauteous montages of ink bleeds into water with a slo-motion visual effect, then layered with a voice-over narrative and distinctive scoring by Dhani Harrison and Paul Hicks. Bringing this visual grammar into his aesthetic was important to David.<\/p>\n

A fan of independent film, it has been his observation for a number of years now that independent films have \u201cbecome part of the machine. They are kind of like wolves in sheep\u2019s clothing. . .They have the same script story beat that the Hollywood blockbusters do; page 5 this happens, page 10 this happens. Independent cinema, to me, is in its own way a conveyor belt. The movies are perfectly designed to go to Sundance, they\u2019re perfectly designed to go to SXSW and, they\u2019re perfectly designed to be sold. But then you have my thing – SEATTLE ROAD.\u201d<\/p>\n

\"Maximillian
Maximillian Roeg in SEATTLE ROAD<\/figcaption><\/figure>\n

\u201cAt first it\u2019s a little challenging because the film grammar I\u2019m using is so different than what people are used to, that they don\u2019t know how to take it at first. Sometimes it takes other people to look at it who understand film grammar to help us get it out there and get the word out. . .I was at NYU during the last little bit when they were still teaching film. I had to sit there and cut frame by frame, splice by splice. With the advent of digital, everything has just become, \u2018Oh, show up with your friends, shoot a bunch of people talking and we\u2019ll figure it out later.\u2019 Nobody sits down and thinks. The tools that are given to us are great, but for me it\u2019s finding the perfect balance of the old and the new and merging them together.\u201d<\/p>\n

\"SEATTLE
SEATTLE ROAD image courtesy of Gravitas Ventures<\/figcaption><\/figure>\n

Part of the meld of old and new led David to the Arri Alexa camera \u201cbecause I wanted to shoot as close to film as I could, [and] we used vintage 1970’s Panavision lenses. Nobody wanted us to use them because they were too big and bulky, but I\u2019m like, \u2018Perfect! We\u2019ll use them!\u2019 It was really trying to stay true to this 1960’s, 70’s homage to the great directors. . .[T]he tools and how to utilize them has really been lost in independent cinema. . .I love those movies, don\u2019t get me wrong, but I miss people trying to push the envelope of cinematic language, or at least trying to. I hope that with my films, I can inspire people to get back in there and try to be inspired to go recreate in their own way.\u201d Just because a film is \u201cindie\u201d doesn\u2019t mean it can\u2019t be cinematic and that you can\u2019t use the proper tools in the toolbox for the proper aesthetic.<\/p>\n

\"seattle
SEATTLE ROAD image courtesy of Gravitas Ventures<\/figcaption><\/figure>\n

Part of that cinematic toolbox also involves editing and here, David called upon the expertise of Matt Johnston. With the opening sequence of the film, the viewer\u2019s curiosity is piqued and the tone is set, raising interest and questions, the answers to which then unfold. Harkening to opening techniques used in early films by Akira Kurosawa, David opens the film \u201cwithout any dialogue, without anything. Just the editing and the tone. The whole movie, the thesis, is set up in the opening.\u201d Admitting this was \u201cnot a quick editing process\u201d, David and Johnston spent some eight months editing. \u201cIt was a process of discovery. . .It isn\u2019t like a 1-2-3 edit and then two weeks later the film is done.\u201d Likening the role of editor to that of a screenwriter, \u201cthe editing is a lot like writing and re-writing. We rewrote and we rewrote. That\u2019s how you get to this type of film; having the time to spend rewriting the clay that you have when you shoot. For me, so much of my movies and how I want to put things together is in the post process.\u201d<\/p>\n

\"seattle<\/p>\n

Pragmatic in his filmmaking philosophy, David believes that many filmmakers miss the mark because \u201ca lot of people spend all their money in the actual production. . . .I think that\u2019s misguided [thinking]. Put all the money up on the screen and then you have no money for post. At the end of the day, production is where you go get the clay. But it\u2019s really in post where you chisel it down. . . .A lot of good films are there, but they just need to be found. Even big Hollywood features, when they have a deadline, they have to hit that deadline. There might be a great movie in there, but if they only had two cracks at the edit and they\u2019ve got to put it out, they\u2019re gonna get something that just isn\u2019t as well thought out.\u201d<\/p>\n

\"Kelly
Kelly Lynch in SEATTLE ROAD<\/figcaption><\/figure>\n

The icing on the proverbial cinematic cake comes from the score. Omnipresent throughout the film, composer Dhani Harrison together with Paul Hicks, delivers a work with varying emotional beats that capture the life unfolding on screen for Adam and Eve. Originally working with one composer in the temp scoring stages of SEATTLE ROAD, he couldn\u2019t quite achieve the desired musical result, thus \u201cthe whole production was put on hold and we put the movie out there to see what the feedback was and if we could get a composer\u201d with the thematic sensibilities necessary to director Ryan David. The composer who fit the bill was Harrison, wowing David with one sequence that went \u201creally really dark with the music!\u201d Describing Harrison and his composing partner Hicks as being \u201clike little kids trying to please me\u201d, it proved to be an interesting scoring process. \u201cWe only had a very short time period to do the score because we had a sound mixer who was leaving to go out of town. We essentially had two weeks to do the entire score and mix the film. It was insane.\u201d Ironically, one of the most striking pieces of the film, visually and musically, is the opening montage which, according to David, \u201cwas the last piece of music [but] the one piece of music that wasn\u2019t working for me. . .Finally at the 12th hour they found something that worked.\u201d A blend of electronic music with violins recorded live, the result \u201cwas magical.\u201d Using the same approach as with the film\u2019s visuals, a tactile practical sensibility, \u201c we [used] digital and all the technology to the furthest extent, but also pulling it back and saying how do we do this, how do we make this like the 60’s, how do we make this like the 70’s.\u201d That philosophy also extended to the film\u2019s one-sheet. \u201cHow do we get this to look like the 60’s? How do we get this to look like the 70’s. How do we go back to the cinematic tools where there wasn\u2019t the technology to make movies like today and you had to do things practically and with a lot more thought.\u201d<\/p>\n

\"Ryan
Ryan David, writer\/director, SEATTLE ROAD<\/figcaption><\/figure>\n

Now that Ryan David has one feature film under his belt and another in script stages, he is able to take a step back on where\u2019s he\u2019s been, what he\u2019s accomplished and what he\u2019s learned about both himself and filmmaking. \u201cI\u2019m not just a filmmaker. I\u2019m a writer. I realize I consider myself more of a writer than I am a filmmaker. I write everyday. I only get to do filmmaking so much. . .I\u2019m really a writer, but I\u2019m not just a writer. I\u2019m doing a lot of photography lately. I\u2019ve started painting. I\u2019ve started to realize I\u2019m an artist and that I don\u2019t have to just lock myself into this narrow conception of success and that if I don\u2019t get into this film festival and if this doesn\u2019t happen, it\u2019s all over. . .Instead of looking outside of myself, I looked inside. . .My art needs to be a reflection of me. I am the art and the thing that I make is the reflection. What I\u2019m learning now with my next project I\u2019m working on is that specific thing. I shouldn\u2019t put my desire, my happiness or my self-worth in the thing that I make because it\u2019s just a reflection of me. My life is the art. What\u2019s going on is just what\u2019s going on. I feel like that specific piece [SEATTLE ROAD] was just where I was at 26, 27, 28. The next piece will be where I was at 29, 30, 31. My stuff will be the reflection of wherever I am as I move through my life.\u201d<\/p>\n

 <\/p>\n

interview 6\/14\/2016<\/p>\n","protected":false},"excerpt":{"rendered":"

From the moment the first frames of SEATTLE ROAD appear on screen and the somber strains of violins play, thoughts of Terrence Malick immediately come to mind. But SEATTLE ROAD doesn\u2019t come from Malick. No, it comes from Ryan David, a gifted young writer\/director embarking on his first narrative feature. A filmmaker who embraces the […]<\/p>\n","protected":false},"author":2,"featured_media":16094,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3626,5],"tags":[320,1489,3341,4785,4784],"class_list":["post-16091","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interview-exclusives","category-interviews","tag-director","tag-exclusive-interview","tag-filmmaking","tag-ryan-david","tag-seattle-road"],"yoast_head":"\nRYAN DAVID on SEATTLE ROAD: "My art needs to be a reflection of me" - Exclusive Interview - Behind The Lens Online<\/title>\n<meta name=\"description\" content=\"Behind the Lens is your home for in-depth movie reviews, filmmaker & celebrity interviews, and more, all by industry professional and film critic debbie lynn elias...\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" 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