Interview Special: DC Hamilton / Brinna Kelly: ‘The Fare’

The sci-fi fantasy THE FARE is generating considerable attention on the festival and genre circuit since its’ initial release in 2018.

The story of a cab driver and his passenger’s repetitive journey that yields a new revelation every time he resets the fare, the film also speaks of destiny and fate reminiscent of films like EDGE OF TOMORROW and GROUNDHOG DAY.

Film and TV Now recently spoke with Director and Co-Producer DC Hamilton and co-Producer,Writer and Actor Brinna Kelly about their experience working on the low-budget film.

DC HAMILTON:

FILM AND TV NOW: When did you become involved with THE FARE?

DC HAMILTON: I was involved from essentially the beginning. The film was born out of conversations Brinna Kelly and I were having about an article regarding phantom taxi cab fares that sparked our imaginations. Then she went off and wrote an amazing script.

FTVN: Where did you shoot the film?

DCH: We filmed all the taxi interiors on a sound stage in Woodland Hills, CA, with our Checker Marathon parked in front of a rear-projection screen. The exteriors with the cab were shot on a long dirt road in Palmdale, CA. We did some additional photography in Pasadena and Universal City, CA.

FTVN: Tell us about your working relationship with the two lead actors.

DCH: I try to create a space where my actors feel comfortable and free to create, make bold choices, and where they can trust that I won’t let them look foolish. I very much trust my actors and try to include them in the process as much as possible.

Without overwhelming them, I try to make sure they know what my cameras are doing, because both Gino and Brinna are very good, very seasoned camera actors who adjust based on that information. I was extraordinarily fortunate that they came at the film with such talent, passion and clarity of purpose.

FTVN: Tell us about your crew.

DCH: A film shot in six days doesn’t happen without an amazing, committed crew. We absolutely had the best team from top to bottom. They genuinely brought so much to each and every position and we all had a lot of fun together. Which is all well and good, except then you realize the level of talent they bring with them. They worked so hard at such a high level and brought so much more to the production than I could have ever dreamt. I am extraordinarily indebted to my crew.

FTVN: There are a number of clear influences on the film, both script-wise and visually. What was the cinematic start-off point for you as a director?

DCH: My starting off point was really studying film-makers who excelled at economy in story-telling. The Fare was always going to be lean in terms of real estate, with essentially the whole film being two people in a cab, and the world outside the car being on a large canvas but that is mostly teased and not seen.

I knew early on it was one of those films where what you don’t see is as important as what you do, which can be demanding on an audience when they’re used to seeing everything. So, I looked to Hitchcock, early Spielberg, The Twilight Zone, old Star Trek episodes, early Shyamalan. I wanted to focus on creating mood, atmosphere and a grand sense of mystery and scale, while striving to be cinematic within limited real estate.

FTVN: The film has been around for over a year. How has it evolved with audiences during its’ release?

DCH: We actually haven’t changed a frame since the World Premiere last December at Other Worlds Austin.

FTVN: How long did it take to shoot and how did you raise finance for the film?

DCH: We filmed for six days and the project was self-financed based on earnings from my previous collaboration with Brinna Kelly, The Midnight Man. We were shooting something like 22, 23 pages a day. The longest was 25 pages. It was like shooting a play.

FTVN: You shot the film in both black and white and colour. How does working in both formats affect the dynamic of the film and was that your original intent?

DCH: We shot the entire film in full color, on Arri Alexas, even though the script was very specific about which sequences were in color, and which were B&W. So in terms of format, there was no difference. We wanted the freedom to choose specifics in post. However in terms of the dynamic, I think the B&W creates a sense of tension early in the film.

It gives the story a lonely feel, which matches the starting point of the characters so well. When we come to color, the palette is very warm with our warm amber moonlight constantly outside the cab.

I love the scene where the film rolls from B&W to color, because between Torin Borrowdale’s score, the spirit of Gino and Brinna’s performances, and Josh Harrison’s gorgeous color palette, the film sweeps you up in such a positive way. That scene has a powerful effect and that dynamic was absolutely the intention… but like so many things with film, you just don’t know until you get it on its feet and in front of people.

FTVN: How much of a challenge has it been securing distribution for the film?

DCH: Distribution can be very challenging for indies, and we have a great sales team that was fielding some offers, but our particular good luck came out of Other Worlds Austin, where a wonderful film-maker named Steven DeGennero saw the film and referred us to colleagues of his that he knew on the film festival circuit. His support led us eventually to the Chattanooga Film Festival and Rob Galluzzo, who at the time was the head of acquisitions for Dread Presents. Rob championed the film and worked with us to secure our distribution. We were so fortunate to have such amazing support along the way.

FTVN: Finally, what is your next project?

DCH: That depends on where The Fare leads us and if it is able to create conversations for us with film investors. Brinna Kelly has a few more fantastic scripts she has pitched me that I would be beyond thrilled to direct, should the opportunity arise. Securing funding, finding that person willing to take the chance and to play big… that is always the trick. And depending on if The Fare can help us generate those conversations, and how big someone wants to go, we have different projects of various genres at a sliding scale budgets. So it really depends who answers the call and how bold they want to be.

BRINNA KELLY:

FILM AND TV NOW: You are both lead actress and creator of the script for THE FARE. When did you come up with the idea and concept and was it designed as an acting vehicle for yourself?

BRINNA KELLY: I conceived of the idea for The Fare about a year before we shot it. One day, DC Hamilton, our director, sent me an article about ‘phantom fares’ that appeared in Japan after the Fukushima nuclear plant accident. Cabbies in the area would report dazed people getting in their cabs and then disappearing during the ride. The article came with a note from DC about how it would make an interesting premise for a film. That was where the initial spark of idea came from.

As indie filmmakers we often wear many hats on our projects. This is the second feature film I have written, produced, and acted in (along with many shorts), so from the beginning, I knew I would be playing a role in the film. 

FTVN: You have a great chemistry with your lead actor Gino Anthony Pesi., who plays Harris. Tell us about your working relationship with him and was he your first choice?

BK: Gino wasn’t just our first choice for the role, he was our only choice. Being such a small production, we were very lucky to have him on board, and from the very beginning, he embodied how I pictured the character. Gino and I had a very easy working relationship on set, we played off each other often. He is one of the most professional people I have ever worked with. We only had 6 days to shoot the film, so we really had to trust each other when performing scenes because we only had time for one or two takes per setup. 

FTVN: The film talks of destiny and fate a lot of the time, as well as about the relationship and interactions between men and women indirectly. Given the status quo of the world, are relationships more challenging these days?

BK: Hmm… I don’t know if they are ‘more’ challenging these days. I think relationships have always been challenging, but the challenges evolve and change just like everything else. However, I believe human beings have a fundamental need for connection, and that is what the film is about, our need to connect with someone, even in the most dire of circumstances. Having just one more person next to you means you’re not alone. 

FTVN: Have you written other screenplays before THE FARE?

BK: Yes. This is my second produced feature screenplay (I wrote The Midnight Man, which was released in 2016). I have also done rewrite work on numerous other screenplays. 

FTVN: What were your influences when writing the screenplay?

BK: I am a big fan of the sci-fi genre, and this film is my love letter to The Twilight Zone (one of my favorite shows of all time), so that’s definitely my biggest influence. Other influences include Star Trek, The X Files, and Black Mirror. 

FTVN: You and Pesi are also a couple of co-producers of the film alongside your director DC Hamilton, Kristin Starns and David Midell. How does producing affect your creativity as purely actors and how did you delegate responsibilities amongst the five of you?

BK: While we were on set, DC, Gino and myself set aside our producer hats so that we can focus on being director and actors. Our on-set producer, Kristin, and co-producer David, picked up all the day-to-day tasks of producing during that time. DC, Gino, and I switched back to our producer duties during pre and post production. 

FTVN: The film has been around for over a year. What have you done in terms of promoting the film and how has the increased exposure helped the film from its’ 2018 debut?

BK: So far, we’ve played at 8 film festivals, both international and domestic, and we’re very grateful to have won several awards. Being on the festival circuit for the past year has helped expose the film to a wide rage of audiences. And experiencing the film with an audience is always thrilling and and makes it feel new again. 

FTVN: Finally, are you planning to produce and write more in future and what is your next project?

BK: I am a screenwriter by trade and will always be writing scripts (whether my own or for other people). But what I get to make next completely depends on how much people like, and how many people see, The Fare. That’s our reality as indie film-makers. We’ve done as much as we can with The Fare and the work is going to have to speak for itself and for us now. Hopefully this film can find and connect with an audience and lead people to want to see something more from me.

Next up, I have written a horror-thriller with elements of fantasy and dark humor that I think audiences would really enjoy. It’s a wicked, fun ride and I can’t wait to make it! 

With some good fortune, hopefully The Fare can help create opportunities that will allow me and my partners to pursue that film. But that’s really up to the audience now and our hope is that The Fare will find them.