Alex D’Lerma is an actor and filmmaker whose latest independent film ‘Fear Love and Agoraphobia’ is set to release this month. We had a chance to talk with him about the movie and what it took to bring it to screens. Here’s what he had to say.
Hello Alex. My name is David. Thank you for taking the time to talk with me about your new film. Before we begin, let’s start with you. Could you tell me a little about yourself for readers who don’t know you?
Alex D’Lerma: I was an actor desperate to book my first leading role in a feature film several years ago. I was booking small acting jobs here and there but the big movie break was not coming fast enough for me. I had made some very good money as a radio broadcaster and in commercials. One day I was playing one on one basket ball with a friend. I told him I was going to write, produce, and star in a feature film that would be shot on 16 mm film. He liked my story idea and offered to give me half of the modest budget in exchange for being the 2nd lead actor in the film and writing and producing the film with me. One of my other close friends was sup- posed to be the director and editor. He wound up being overwhelmed by the whole process and by default I wound up becoming the director and editor of that first feature. It was a “sink or swim” situation for me. I did not have formal training as a director yet but I was able to pull it off because of my training and experience in the theater as well as radio where I was a production director as well as a DJ. I had hundreds of hours of experience writing and editing commercials and weekend radio plays. Ultimately I fell in love with writing, directing, producing, and editing film. I transitioned from acting into filmmaking and got my directing start as a complete fluke.
Your new film is called ‘Fear Love and Agoraphobia,’ which you also wrote. It’s a very personal story so I’m a little hesitant to ask, but could you maybe tell me what inspired you?
AD: The agoraphobia was a dramatic device I used to convey the feeling most people have had of loneliness and feeling trapped in their own lives or in a particular situation created by themselves or a force they cannot control. I feel it’s universal and for many people it can be very intense and paralyzing as it is for anyone suffering from agoraphobia or any anxiety disorder. And yes, many years ago, I was in a situation were I felt trapped and lonely. I wanted to explore that in a theatrical but truthful way.
READ MORE: Review of the Alex D’Lerma Film Fear Love and Agoraphobia
You deal with two very serious and troubling disorders, the obvious agoraphobia and alcoholism. Were there any issues with balancing these conditions and giving them both the weight you needed in completing the story?
AD: Not at all. I come from the theater so research and especially rehearsal helped me balance those two elements of the story. Most filmmakers I worked with in the past, as an actor, didn’t realize what rehearsal is for. They didn’t spend enough time using it to test and fine tune their script as well as allowing the actors to explore and discover things about their characters. Rehearsal was essential for my film and I spent three months rehearsing and workshopping my script with my actors. The budget was modest so this really helped.
Your two leads are making their feature film debuts, with both having done television work. Tell me about Dustin Coffey and Linda Burzynski.
AD: Yes, as you said, neither of them had made a movie when I cast them. Dustin Coffey and Linda Burzynski are members of my acting / directing studio, The Cinema Gym. I have been their acting coach and mentor for several years. Dustin and Linda are two extremely hard working and talented character actors who were having trouble booking their first feature film. Hollywood, more than ever, values youth, beauty, and the amount of social media followers an actor has more so than their training and talent. I wrote the script and the leading characters of Chet and Maggie specifically to showcase Dustin and Linda’s unique talents. They deserved a break and I’m happy that they have earned so many “best actor” film festival awards and rave reviews.
I really loved their dynamic and this truly authentic bond they generate. How much space did you give them to build these characters? Did they have freedom in any of the development?
AD: Not much. I had worked out what I wanted in the script and then I worked very closely shaping those performances with both actors for three months of rehearsal. Yes, they contributed things, of course, but I knew what the big picture was for this movie and needed to make sure the stayed on point. I mapped out exactly where I wanted them to be emotionally at every step of the movie when we were rehearsing. I asked them to write down my notes in their scripts so they would know what their moment to moment needs were, what their emotional state of being should be for each scene, and even what they should be wearing to help convey where the characters were living emotionally. Both actors are very dedicated so I knew I could count on them to do the homework I gave them and to contribute ideas and suggestions if there was something that didn’t work for them in my script.
You also cast Lori Petty. She’s terrific in a supporting role. How did she become involved in the film?
AD: My fellow producer Markus Linecker and I wanted to cast Lori Petty in a strong supporting role because we’ve always liked her work and were fans of her iconic 90’s films. We sent an offer, and the script, to her agent and she loved it and said yes.
I adore the opening scene with Chet (Coffey) sitting in his car trying to work up the courage to get out and do a simple task, one we take for granted. It’s funny and yet much more dramatic, revealing straight away the burdensome ordeal he lives with. I don’t really have a question but would love to know the thought process behind this great start.
AD: Thanks for the compliment. I knew making a movie that is character driven, and not plot driven, would be tough. And making a movie about a man who never goes anywhere or does anything and is basically depressed and afraid of things would be VERY tough. That’s why I added the slight humor and surprises, like the opening scene you mentioned. I thought if I could make part of the audience think Chet’s a bank robber instead of simply someone afraid to go into a crowded bank it would kick off the film perfectly. It was a fun and creative way to demonstrate to the audience his anxiety issue but with humor.
This brings me to tone. I noted in my review how the film is dressed up like a comedy but is really anything but. There are some very funny moments and yet it never really inspires laughter, rather overwhelming sympathy. I think that’s a great achievement. I know I’m asking about balance again, but was this a case of spinning plates or did you always have this back and forth in mind?
AD: Great observation and question. Most people don’t realize the importance of the proper tone in a film. I was always aware that if I did not get the right tone this movie would not work. I originally had more humor in the film but I cut it out for that reason. When I was editing the film a friend said – “why did you cut out that joke? It was funny.” – I explained that my sometimes “over the top” silly humor crosses into sitcom or farce and that might get a laugh but it was not the movie we were making. It was the wrong tone.
What are some of the advantages you like about independent filmmaking?
AD: All ten shorts, the web series and two features I’ve directed have all been Indies made with very little money. And they taught me that not having the proper amount of money opens up your creative mind and can present choices you normally would not have made but that many times those off the way choices are more imaginative and unique. Case in point is when Maggie’s (played by Burzynski) dead husband shows up in the end of the film.
What’s next for you?
AD: I’m currently producing a short film for one of my Cinema Gym directors and a few of our group’s actors. It’s called Mortal Coil and it’s a fantasy/Drama. I’m also writing my next feature which will be a thriller.
At ThatMomentIn.com, we dedicate a lot of content to great moments in cinema, hence the title of the site. Have there been any films or movie moments that have had influence on your career?
AD: The films that have influenced me most were the ones I saw when I was very young. I think I was ten or eleven when I saw Taxi Driver, with one of my older brothers, in a theater. I watched the Godfather on television a lot when I was a child too. Those two films, especially the Godfather, really stuck with me. Then when I was in high school I remember
Michael Mann’s film Thief just blowing me away. One of the best movie moments for me is Al Pacino’s transformation in the Godfather at the end of the film. I’m talking about how in the last scene someone closes the door on his wife. He makes this slow metamorphosis throughout the film and we see the apex of that transformation with him lying to his wife and then literally shutting her out all in the final few mins of the film.
Thanks so much for taking the time to talk with me. I wish you the best of luck with ‘Fear Love and Agoraphobia’ and hope our paths cross again soon.
AD: You’re welcome David and I want to thank you and everyone connected with That Moment In for your support. Indie movies are hard to make and harder to get to the public when you’re working on a shoe string budget. Web sites like yours are invaluable to people like me trying to make personal cinema. Can’t wait to talk movies with you again.