Chloe Domont is a author and director whose quick movies “Haze” and “All Good Things” have been included within the Official Selection of BAMcinemaFest, AFI FEST, LA Film Festival, and AFI DOCS, amongst others. She’s written and directed on the hit HBO present “Ballers” and has directed episodes of “Shooter” for Netflix and “Billions” for Showtime.
“Fair Play” is screening on the 2023 Sundance Film Festival, which runs from January 19-29.
W&H: Describe the movie for us in your personal phrases.
CD: “Fair Play” is a thriller about energy dynamics. It follows a relationship put to the take a look at when an surprising shift in energy happens. This shift exposes true natures, and on a bigger degree, the unsettling hyperlink between feminine empowerment and male fragility.
W&H: What drew you to this story?
CD: I wished to reckon with some unresolved emotions I had from my private experiences prior to now, particularly experiences relationship males who had been threatened by me not directly. The solely means I might address that was by making myself small — in a determined bid to guard these relationships.
Over time this response turned regular, second nature, on daily basis. I simply accepted it and didn’t discuss it as a result of I couldn’t admit that the dynamic was actual. It was additionally complicated and onerous to course of as a result of these males adored me for the exact same issues that frightened them.
That’s why I began scripting this story — to sound the alarm and to shine a light-weight on one thing that I consider many people wrestle with, however are too afraid to speak about and even admit.
W&H: What would you like folks to consider after they watch the movie?
CD: I’d like to depart the viewers with sure questions that hopefully begins a dialog. For one, how can ladies embrace their success with out fearing that it’s going to harm them? How can we demystify the position that males are raised to suppose they’re speculated to fill? It’s okay in the event that they’re not the primary breadwinners. Success shouldn’t be a zero-sum recreation.
W&H: What was the largest problem in making the movie?
CD: Getting to the primary day of filming. As with each manufacturing, you’re continuously getting hit with obstacles that threaten your imaginative and prescient and the lifetime of the film. It was about studying tips on how to cope with forces that had been outdoors my management, determining tips on how to pivot shortly in order that we might reside to battle one other day.
I used to be assured that after we began filming issues would circulate, however till you really begin, it at all times feels prefer it might collapse at any second.
I’m very grateful that I had a tremendous staff of individuals round me, supporting me by each impediment and who had been decided to make this movie as a lot as me.
W&H: How did you get your movie funded? Share some insights into how you bought the movie made.
CD: MRC funded the movie by an rising filmmaker label that’s run by T-Street.
W&H: What impressed you to turn into a filmmaker?
CD: My love of flicks, love of tales, love of drama. When I used to be younger, my father confirmed me movies that moved me in ways in which utterly modified my life. It impressed me to start out writing tales of my very own once I was eight and I haven’t stopped since. It’s a drug. I can’t get sufficient. It’s the best problem and the best pleasure.
W&H: What’s the very best and worst recommendation you’ve acquired?
CD: The greatest recommendation was from my mom who advised me to double down in who I used to be. To be sincere and compassionate, but in addition, unapologetic.
The worst recommendation was from folks giving me unsolicited recommendation like they know me and know what I need. Also giving me recommendation like I’m only a statistic.
W&H: What recommendation do you have got for different ladies administrators?
CD: Tell tales that solely you possibly can inform. Be clear along with your imaginative and prescient for these tales. And discover individuals who will get behind that imaginative and prescient and show you how to carry your story to life.
W&H: Name your favourite woman-directed movie and why.
CD: “Toni Erdmann” by Maren Ade. Because it’s unpredictable and messy and ugly and heartbreaking and hilarious. It entertained me and gutted me and there’s simply by no means been a father- daughter story prefer it.
W&H: What, if any, duties do you suppose storytellers must confront the tumult on the earth, from the pandemic to the lack of abortion rights and systemic violence?
CD: I believe it’s important to deal with huge points, however there must be a private purpose for it and a private means in. For one thing to be common and join with folks, it must be particular and singular.
W&H: The movie business has a protracted historical past of underrepresenting folks of shade onscreen and behind the scenes and reinforcing — and creating — adverse stereotypes. What actions do you suppose have to be taken to make Hollywood and/ or the doc world extra inclusive?
CD: I believe the business must commit to creating the casting course of extra inclusive on their productions and truly meet these commitments. Also, rent extra filmmakers of shade. Finance their tales. Make their films.
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