HEALING through art: CREATOR PAUL CARTWRIGHT DISCUSSES ZFA BEST PICTURE WINNER “CARRIE’S CONVERSATION”

“Carrie’s Conversation” came to the ZFA jury at last minute, and perhaps at a time of need, and we are so glad it did. Confronting traumatic experiences is not an easy thing to do - especially when epiphanies are revealed through art. It is also not an easy thing to tackle - coping with personal experiences and inspired scenes based on one’s past while objectively directing a project. Up and coming visionary Paul Cartwright made his own healing (and perhaps other people’s healing) possible through authenticity, compassion, and simplicity in “Carrie’s Conversation.” The film swept our October/November season with the following awards: Best Narrative Film, Best Director (Paul Cartwright), Best Cinematography (Rachelle Price), Best AC/ Follow Focus (Rachelle Price), Best Supporting Actor (Dave Martinez), Best First Assistant Director(s) (Tiffany Gale, Jade Gottfredson), Best Lighting, and Honorable Mention: Best Actress (Kenna Denali).

ZFA: What inspired this story?

Paul: This story is very special to me because it's my story. My father died of colon cancer before I became a father, so when I had my first child, I didn't have a dad around to teach me "dad" things. With “Carrie's Conversation,” I felt like I had explored the male side of my story as far as I could, and I wanted to get a new perspective by casting a female as the lead with a female DP/Cinematographer, two female ADs, and as many other female crew as I could get to help me tell the story from a different perspective. It was so amazing to get their input and feedback for this story. I learned so much from the amazing women on this shoot.

ZFA: How long did the project take? Where was it filmed?

Paul: Start to finish this project took 55 days to complete. We shot in three locations over three days. It was filmed in Murray, UT, Orem, UT, and Lehi, UT. 

ZFA: Our jurors were so impressed with the performances! Any tips for directing talent regarding such a sensitive topic?

Paul: As a director, my biggest desire for my actors is to bring authenticity and their own genuine selves. I wanted these scenes to be as real as possible without any "putting on" of characters. We didn't rehearse, and there was improv in some scenes the actors felt they wanted to try. I happily agreed, and it paid off. When it comes to directing sensitive issues like death and grieving, it's important to remember everyone processes and displays their emotions differently. I didn't come to the major scenes wanting a specific reaction from the actors, I just wanted what was real and genuine. That made it easier for the actors to express themselves freely.

ZFA: The jurors were so impressed with the camera work. How did you find your cinematographer, and what are some best practices for working with your Director of Photography to achieve such amazing shots?

Paul: Rachelle Price is a legend. She and I have worked together on several projects, and she's just the best. I came to her with the script when it was finished and wanted her constructive feedback. She helped me understand a lot of what I was missing, so I was able to get the script shoot-ready by working with Rachelle. Once it was ready and I knew all the shots I wanted in my head, Rachelle went to work with our amazing gaffer Dallin Call to create the picture in my mind. I recommend on any project you ensure you, the DP, and the 1st AD are all on the same page with what you're shooting and how you're doing it. Since I was editing on this project, I gave Rachelle all my framing and setup ideas and she brought them to life. She's amazing, and everyone needs to work with her. I also recommend to newer directors and filmmakers that you have a great gaffer to light your scenes. Lighting was absolutely essential on this project. Spend the money, take the time, light your sets well. It also helped that we shot this on an ARRI Alexa LF with Cooke S/4 lenses.

ZFA: How did you keep morale going on set? What was your most memorable moment on set?

I've recently been learning that my sets are very fun. I guess people think that because I never take myself too seriously. My work isn't precious to me, so I always love input and suggestions. I want people to feel they have a voice on my set. From the grips to the gaffer to the PA. I want everyone to feel like they're participating in the project. I also don't want to take myself too seriously on set. Sure we need to focus and work hard, but we're making a movie and it should be fun. One of the most memorable moments on set was when Dave and Kenna were doing their big scene and Rachelle and I just didn't feel like we were getting the shot we wanted, and at the same time we said, "put the camera on the dolly," and got one of my favorite shots in the whole film.

ZFA: This film made many of our jurors emotional at the conclusion. Did you have the ending in mind when you started?

Paul: I knew I wanted an ending that meant something and got people to feel and think about their own lives. The whole premise for the film was the first thing I wrote, and the rest revolved around that ending. I feel like it's an appropriate representation of how I feel about my own circumstance.

ZFA: Any lessons learned or things you would have done differently?

Paul: Working with kids is never easy, but it can also bring beautiful surprises and touching moments. I am so grateful we brought sweet River onto set--he brought so much life and joy.

ZFA: What is next for you? Any other upcoming projects?

Paul: I'm currently in the script phase of several feature films that I hope to have completed by the end of next year. There will undoubtedly be more shorts along the way, too.

ZFA: How can we find you and follow your work?

Paul: @PaulTCartwright is my handle for Twitter, Instagram, and Facebook. You can also visit my voiceover website at www.PaulCartwrightVO.com