Darien Sills-Evans is a multi-talented filmmaker and actor whose newest film ‘One Bedroom’ is making waves in festivals.
I recently had the opportunity to watch Sills-Evans’ very entertaining film and then ask him about the movie, in which he wrote, stars, and directs. Here’s what he had to say.
Hello Darien. Thanks so much for taking the time to answer a few questions. I’d like to start with you. Could tell our readers, for those who don’t know, a little about yourself and how you got into the business?
Darien Sills-Evans: I’ve been in show business my whole life, starting as an actor at age fifteen. I still consider myself a Brooklynite, even though I no longer live there.
Your latest film is called One Bedroom, a comedy/drama about a young couple in Brooklyn. You’re the writer, director, and star, so I guess my first question really is, how much of challenge was this keeping so many plates spinning?
DSE: Some days were certainly more challenging than others. Directing and acting are often about making choices. I just dis my best to stay as present in the work as possible. Fortunately, I had a great cinematographer and script supervisor to rely on. We had to work quickly, but the crew was great.
READ MORE: Review of Darien Sills-Evans‘ One Bedroom
Let’s talk about the story. Without giving too much away, it’s about a man named Nathan (played by you) and a woman named Melissa (played by Devin Nelson) on the edge of a breakup after he is accused of cheating. How about some inspirations? Where did the story come from?
DSE:Nearly everyone has heard a horrible break-up story. I’ve merged a few of my own with others I’ve heard or witnessed. I’ve always considered what emotional roller coasters break-ups are, especially if they involve someone moving out. Often that last day in the apartment with a former lover feels like a microcosm of the whole relationship and we were trying to illustrate that.
Having watched the film, I wrote in my review about how strong the dialogue is, something I think many writers struggle with. It’s very natural in the movie, balancing humor and heartache very well. Was this tonal up and down always there or did it begin as a comedy and evolve into a drama … or vice versa?
DSE: Thank you. I’m a comedian, but I don’t necessarily always enjoy broad comedy. As a writer of several dramatic films, I don’t always enjoy heavy pathos. The tonal changes in One Bedroom were in the script. It’s a very serious situation, with lots of comedy thrown in, but that’s how I view life. Nate and Melissa are not aware that they’re being “funny”, as I wanted all the humor to come from the characters and situations, not gags.
You give Nathan a great deal of vulnerability along with a host of personal flaws. Tell me about your method for developing the character. Is there any of you inside him?
DSE: There’s some of me in everyone, but Nate is fictional. I often play men who are very nice, unthreatening, or flat out nerds. I actively wrote Nate to be an unlikable lead, and a shallow person with insecurities. I just wanted to play someone very different from the roles I usually play.
Devin Nelson is a great presence in the story, her diminutive size contrasting nicely with her empowered personality. How much room did you give her to explore the character and make it her own?
DSE: Devin was amazing. This is her first film and it was a pleasure watching her grow as an actor everyday. I’m not a micro-manager. There is a lot of Melissa that Devin had to find for herself and she brought a lot to the role. As an actor-director, if I need a different performance or an adjustment in Devin’s performance, I would improvise or change my performance as Nate to get her to react differently.
I love how the film has a very strong stage play feel with its limited sets and conversationally-driven plot. Was this always a screenplay or had you originated this for a theater production?
DSE: One Bedroom was always a screenplay, but I’m aware that it feels like a could’ve been adapted for a stage play. I just wanted to make something that took place in mostly one room. I suppose maybe in the back of my head, I always knew if the film didn’t work out, I could take it to the stage, with few changes.
Additionally, I appreciate the risks you take with One Bedroom, sidestepping some of the more conventional aspects of the modern day rom-com, including a really smart end (which I won’t spoil for readers). Was breaking from the norm something on your mind throughout or was this just organic from the story you wrote?
DSE: I always knew how the film would end. I’m a fan of the rom-com genre, although I haven’t enjoyed a rom-com film in many, many years. There are so many tropes and most rom-coms feel indistinguishable from another. The hope was that One Bedroom would avoid those tropes, by trying to be as authentic as possible.
One Bedroom is doing well in festivals and continues to make the rounds. Is there any information on possible distribution dates so our readers might know how and when to give this a watch?
DSE: The film has been doing well in festivals, but we’re still showing it to distributors. This is when it becomes difficult, because I feel some distributors are still seeing this as a “black” film, when it actually has been appealing and playing extremely well to all audiences. Hopefully, we’ll land a distributor soon.
I think films like this should really help break that labelling. While you’re certainly busy promoting One Bedroom, are there any projects on the table you can share with us about what’s next for you?
DSE: My producer, Devin Williams, and I are very close to choosing and announcing our next project. It won’t be Two Bedrooms. It’ll likely be a comedy or a murder mystery … or both?
I’d watch Two Bedrooms! Either way, looking forward to whatever you deliver. Thanks so much for talking with me. Best of luck with the film and hopefully our paths will cross again soon.
DSE: Thanks so much. It’s been great speaking with you. Let’s do this again soon!