WEBVTT

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<v Speaker 1>Hold you is it show?

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<v Speaker 2>People say good money to see this movie.

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<v Speaker 3>When they go out to a theater, they are cold sodas,

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<v Speaker 3>hot popcorn and no monsters.

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<v Speaker 4>In the Protection Booth, everyone pretend podcasting isn't boring.

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<v Speaker 1>No, no.

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<v Speaker 4>You might be asking yourself, what is this lady doing? Well,

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<v Speaker 4>I'm not going to but no, no come near me,

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<v Speaker 4>because I was think, don't come a girl, don't love

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<v Speaker 4>a girl?

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<v Speaker 3>Oh need the lover.

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<v Speaker 2>There are some things in life worth more than just

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<v Speaker 2>carnal pleasure.

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<v Speaker 4>Grieved.

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<v Speaker 1>I want to shower in your.

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<v Speaker 3>I want to pick up a piece of your pool.

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<v Speaker 1>And eat it like a banana.

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<v Speaker 3>M h.

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<v Speaker 1>When you really love some what you do that of God?

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<v Speaker 4>Know they just just did up.

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<v Speaker 1>Love And so you love me and say your naby.

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<v Speaker 3>Great take it.

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<v Speaker 2>Hey, folks, welcome to a special episode of The Projection Booth.

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<v Speaker 2>I'm your host Mike White. On this episode, I am

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<v Speaker 2>talking with writer, director, producer, probably yes, definitely star all

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<v Speaker 2>kinds of stuff. She's a one woman powerhouse, Grace Glowiki,

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<v Speaker 2>and she is back with a new film called Dead Lover.

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<v Speaker 2>The aesthentic of this film really scratches an inch that

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<v Speaker 2>I have for this kind of artifice and playing with

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<v Speaker 2>the frame that I just really enjoy. Great movie as well,

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<v Speaker 2>pretty over the top all the stuff that I love

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<v Speaker 2>about movies. Definitely check it out if you get a chance.

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<v Speaker 2>Might not be for everybody, but a definitely was for me.

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<v Speaker 2>Thanks so much for listening, and I hope you enjoyed

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<v Speaker 2>the interview. You have told a lot more than directing,

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<v Speaker 2>and I'm curious just how you decided to get into

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<v Speaker 2>entertainment at all.

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<v Speaker 4>I know it's such a crazy choice to make for

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<v Speaker 4>one's life. How did I? I think, Well, I went

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<v Speaker 4>to McGill and I was studying art history, and I

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<v Speaker 4>remember being in college and being like, what am I

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<v Speaker 4>going to do? And then on a whim, I saw

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<v Speaker 4>an auditioned sign up sheet for a play and I

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<v Speaker 4>just put my name on the list, showed up, didn't

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<v Speaker 4>know how to act, didn't know what I was doing,

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<v Speaker 4>but ended up getting a part in this play, and

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<v Speaker 4>I just sort of fell in love with equal parts

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<v Speaker 4>the camaraderie you feel when you're making a piece of

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<v Speaker 4>performance for an audience and also the kind of rebellious

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<v Speaker 4>feeling of being vulnerable and being watched by a group

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<v Speaker 4>of people. So I think, you know, kind of chasing

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<v Speaker 4>that live performance high, but also the like feeling of

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<v Speaker 4>being a part of a troop. Maybe, so I think

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<v Speaker 4>that that's kind of the double edged sword of what

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<v Speaker 4>got me.

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<v Speaker 2>And then writing and directing was that's just kind of

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<v Speaker 2>a natural progression where you like, I really want to

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<v Speaker 2>try this out. I want to see how this is

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<v Speaker 2>wearing these hats as well.

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<v Speaker 4>It partially came from trying to be a actor in

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<v Speaker 4>a more conventional sense and not feeling as though the

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<v Speaker 4>rules that were coming my way were full I was

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<v Speaker 4>able to fully express myself through them, so I started

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<v Speaker 4>to kind of make my own stuff as a way

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<v Speaker 4>to solve that problem. So I think, yeah, it was

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<v Speaker 4>kind of born of the necessity of wanting to express

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<v Speaker 4>myself as an actor. Is how I've found myself to

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<v Speaker 4>be a filmmaker. Yeah, so it's sort of a strange

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<v Speaker 4>way into it, but I have since like so fallen

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<v Speaker 4>in love with the filmmaking process, directing and writing and

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<v Speaker 4>all of that. So yeah, I'm happy to kind of

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<v Speaker 4>do both.

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<v Speaker 2>I love your feature work where it's the smaller two

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<v Speaker 2>person four person type casts. I mean, is that again

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<v Speaker 2>just how hard it is to make a movie and

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<v Speaker 2>it's easier with smaller troops or how was that?

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<v Speaker 4>That's where it comes from. I think is just being

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<v Speaker 4>used to not having resources to work with, and so

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<v Speaker 4>you kind of start to understand that the less people

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<v Speaker 4>you make something with, the cheaper it is, the more

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<v Speaker 4>manageable it is. So it comes from that place kind

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<v Speaker 4>of out of necessity, but because I've done it now

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<v Speaker 4>quite a few times of just like movies with two

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<v Speaker 4>characters or four characters, like Dead Lover, it's nice because

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<v Speaker 4>you really get to put pressure on the protagon, like

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<v Speaker 4>it's a real direct expiration of a protagonist because there's

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<v Speaker 4>this one. If it's one other character, there's one other

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<v Speaker 4>force pushing against them. So there's a nice sort of

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<v Speaker 4>focus and precision and balance to it when it's just

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<v Speaker 4>a couple actors or two actors.

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<v Speaker 2>So yeah, yeah, you work a lot with this Ben

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<v Speaker 2>Petrie guy. What's a story with him?

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<v Speaker 4>So he's my husband, he's in the other room. Yeah,

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<v Speaker 4>So we we have just been working since we've been

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<v Speaker 4>together romantically, we've also been collaborating, so it's very intertwined

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<v Speaker 4>our lives and our collaboration, and I think what's drawn

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<v Speaker 4>us together as people and as collaborators is we're very different,

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<v Speaker 4>but I think we have a high regard and respect

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<v Speaker 4>for each other's point of view in each other's brain.

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<v Speaker 4>So it's this great balance of you know, the friction

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<v Speaker 4>of two opposing things, but the desire to stay connected

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<v Speaker 4>through collaboration. So yeah, it's just been such a joy

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<v Speaker 4>working with him. Very unusual, of course, working with your

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<v Speaker 4>husband in this capacity, but it's been so special.

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<v Speaker 2>Tell me about something like shooting Tito, for example, So

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<v Speaker 2>are you shooting all day and then you have to

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<v Speaker 2>go home with him at night and then like are

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<v Speaker 2>you just talking about the movie all the time or

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<v Speaker 2>do you take a break?

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<v Speaker 4>You know, we try to take breaks, but we stopped,

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<v Speaker 4>like we try to. We used to try to compartmentalize

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<v Speaker 4>it and be like, Okay, we're going to not talk

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<v Speaker 4>about work whatever. But the truth is we're both obsessed

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<v Speaker 4>with filmmaking and we're both obsessed with the projects we make.

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<v Speaker 4>So after a while we just kind of let it

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<v Speaker 4>be free and it weaves itself in what feels like

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<v Speaker 4>every hour, you know, within an hour of us hanging out,

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<v Speaker 4>it would be really rare for us to not bring

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<v Speaker 4>up something related to work. Just because that's how our

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<v Speaker 4>brains are both working as individuals. We love we love movies.

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<v Speaker 2>Yeah, and where do the does an idea like dead

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<v Speaker 2>Lever come from?

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<v Speaker 4>So it actually was developed in kind of a strange

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<v Speaker 4>process where I was talking to Ben and another three

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<v Speaker 4>people in individual conversations over the course of like two

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<v Speaker 4>year years where I didn't really know what I wanted

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<v Speaker 4>to make next, so but I knew I really wanted

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<v Speaker 4>to be collaborative. So in these conversations we would just

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<v Speaker 4>talk about different characters, different environments, different plots for movies,

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<v Speaker 4>and just slowly orally started to build a story of

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<v Speaker 4>this grave digger. So it came it was born of

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<v Speaker 4>this collaborate, these oral brain jam sessions with these people.

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<v Speaker 4>Someone was like, what about a grave Digger? And you know,

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<v Speaker 4>it's all just kind of spiraled from there.

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<v Speaker 2>Who would you say were some of your biggest influences

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<v Speaker 2>or who are you fan of?

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<v Speaker 4>I grew up on really like big comedies like I

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<v Speaker 4>Love Jim Carrey, Mike Myers, Monty Python, and SNL. Mel Brooks.

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<v Speaker 4>So I think those were the guiding lights where these

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<v Speaker 4>bigger comedies that I grew up with in the nineties and.

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<v Speaker 2>Then something like dead Lower has such a great look

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<v Speaker 2>to it. How do you come up with that? How

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<v Speaker 2>do you get that design in your head?

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<v Speaker 4>Yeah, so that came from my love of theater and

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<v Speaker 4>my love of performance. And whenever I go to like

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<v Speaker 4>a black box theater show and it's just an actor

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<v Speaker 4>in a spotlight, I'm always kind of amazed at how

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<v Speaker 4>I find that so visually compelling, and it's enough stimulus

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<v Speaker 4>for me and I don't need anything else. And so

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<v Speaker 4>I kind of got in my head of why can't

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<v Speaker 4>you translate that in the medium of film, like the

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<v Speaker 4>minimalism of live performance, and or there's these great images

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<v Speaker 4>of Iggy Pop performing on stage in the seventies and

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<v Speaker 4>it's just him in a spotlight, but he's got like

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<v Speaker 4>a silver glove, and I'm like, oh, yeah, that's the

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<v Speaker 4>most amazing. These are the most amazing images. So it

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<v Speaker 4>came from that place. Levy needs stripped down live performance

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<v Speaker 4>images of act performers in spotlight. But then also I

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<v Speaker 4>would then meet rain Vermet, the cinema photographer of this film,

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<v Speaker 4>and would see her movie called Saint Anne, which played

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<v Speaker 4>at TIFF in the New York Film Fest, and she

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<v Speaker 4>just has this incredible ability to on sixteen millimeter film

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<v Speaker 4>like shoots stuff where it's surrounded by blackness, but there's colors,

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<v Speaker 4>different back lights to different front lights, and so it

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<v Speaker 4>was kind of a mashup of that inspiration and then

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<v Speaker 4>meeting this woman who was like so amazing at these

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<v Speaker 4>stripped down kind of Kenneth Anger style images.

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<v Speaker 2>And then how is it directing yourself and especially all

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<v Speaker 2>that makeup and costume they have to put on.

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<v Speaker 4>Because I did it in Tito as well, I'm used

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<v Speaker 4>to directing myself, so I find it actually quite natural

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<v Speaker 4>to do it, And I always say, in some ways

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<v Speaker 4>it feels more economical and easier because you don't have

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<v Speaker 4>to negotiate with your lead performer as a director when

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<v Speaker 4>it's also you, So it ends up making things kind

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<v Speaker 4>of go faster, and you can direct from the front

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<v Speaker 4>seat of the protagonist. So in a way I find

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<v Speaker 4>it easy and maybe easier than negotiating with a director.

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<v Speaker 4>Like when I'm acting in collaboration with the director, I

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<v Speaker 4>find that more difficult than directing myself. So I really

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<v Speaker 4>enjoyed it.

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<v Speaker 2>How long did it take to actually take that lover

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<v Speaker 2>from conception to what we see now?

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<v Speaker 4>Oh, gosh, those conversations with friends I mentioned probably started

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<v Speaker 4>two three years before shooting, and then yeah, the edit

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<v Speaker 4>would be a year and a half, so you know,

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<v Speaker 4>the all together, it's been feels like it's been five

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<v Speaker 4>years maybe, And you tell me.

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<v Speaker 2>About the music. I really love the score.

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<v Speaker 4>Meg Remy from US Girls did the score. I came

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<v Speaker 4>to her with like a more or less finished film

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<v Speaker 4>with about forty five minutes of temp tracks in it,

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<v Speaker 4>ranging through all like all different genres and stuff, and

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<v Speaker 4>was like, oh gosh, like Meg, what what are we

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<v Speaker 4>going to do? How are we going to fill all

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<v Speaker 4>of these holes? And she's a really brilliant artist, and

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<v Speaker 4>we ended up approaching it kind of like a collage

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<v Speaker 4>where she said we could use her for any song

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<v Speaker 4>from her first three albums, scraps of unpublished songs from

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<v Speaker 4>her old hard drives, and then she had the idea

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<v Speaker 4>of using public domain wax cylinder tracks, which are free,

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<v Speaker 4>and then she had this one new track you got everything,

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<v Speaker 4>And so from these piles of sounds, Meg and I

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<v Speaker 4>just threw stuff on the movie and started to try

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<v Speaker 4>to make patterns and themes out of these different piles.

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<v Speaker 4>So we really thought of it as a collage, which

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<v Speaker 4>is a testament to the way Meg's brain works. And yeah,

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<v Speaker 4>I love what she did with it.

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<v Speaker 2>I love how hands on you are with all of

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<v Speaker 2>this stuff, working with your composer like that, and then

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<v Speaker 2>you we even co.

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<v Speaker 4>Edited this, yes, yes? Or no? This one?

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<v Speaker 1>Did?

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<v Speaker 4>I do I have an Ivan credit? I don't know, honestly,

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<v Speaker 4>I'm blanking.

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<v Speaker 2>Oh, I'm I must be thinking of Tito. I'm sorry.

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<v Speaker 4>Yeah, yeah, so this one I don't. This is Lev Lewis,

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<v Speaker 4>who did an amazing job Tito. I co edited with

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<v Speaker 4>Brendan Mills. Yeah, I love editing. For this one, I

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<v Speaker 4>was like, hey, I'm gonna try to not edit and

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<v Speaker 4>try to learn about the collaboration between a director and

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<v Speaker 4>an editor. And Lev was amazing and really rigorous with

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<v Speaker 4>the footage, and he's really good at making things make

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<v Speaker 4>sense and making things be concise. But he also has

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<v Speaker 4>this he's a composer himself, so he brought this wonderful

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<v Speaker 4>sonic knowledge to his cutting. And I love sound too,

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<v Speaker 4>so together we did all of the sound effects in

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<v Speaker 4>the film, of which there's tons. Yeah. The interplay of

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<v Speaker 4>like sound work and cutting with Lev is that line

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<v Speaker 4>is really permeable. Between those two things, and yeah, he

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<v Speaker 4>absolutely nailed it.

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<v Speaker 2>When did you first get to see this with an audience?

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<v Speaker 4>Like, we did a lot of chest screenings with groups

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<v Speaker 4>up to about twenty twenty people, so if we don't

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<v Speaker 4>count that, the first time I saw it with an

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<v Speaker 4>audience was sun Dance at that first screening of it.

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<v Speaker 2>Yeah, what was that experience?

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<v Speaker 4>Like? It was really interesting actually because there was a

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<v Speaker 4>lot of walkouts. You're so nervous as the filmmaker, and

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<v Speaker 4>you're like, please love it, please love it, and then

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<v Speaker 4>you just start to hear that door open and close,

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<v Speaker 4>open and close, and you know, as people walking out,

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<v Speaker 4>and it's difficult to screen a film, especially you know,

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<v Speaker 4>at a big film festival like that. But I knew

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<v Speaker 4>thet I knew Sundance loved the film, so that and

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<v Speaker 4>were they were really championing the film. So it was

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<v Speaker 4>kind of just a confrontation of this film is not

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<v Speaker 4>for everyone. And that's a hard lesson to learn when

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<v Speaker 4>you're like, you know, sleep deprived and you have out

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<v Speaker 4>you know, you're high up in the Sundance Hills and

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<v Speaker 4>all of this. So I would say I don't like

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<v Speaker 4>the first screening of any of my films, and this

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<v Speaker 4>one in particular was hard with the walkouts. It's all

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<v Speaker 4>good stuff, and the film would then continue to play

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<v Speaker 4>and kind of find its audience a little more where

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<v Speaker 4>people had heard about it and like, oh, I really

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<v Speaker 4>want to go see that. Where I think the first

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<v Speaker 4>screening at Sundance, it's a lot of people trying to

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<v Speaker 4>buy films, and this film is definitely not like an

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<v Speaker 4>obvious like moneymaker or anything like that. So yeah, it

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<v Speaker 4>was interesting that that premiere. But I love Sundance and

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<v Speaker 4>they were they were so supportive of the of the film.

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<v Speaker 4>It was like kN you Tanny like came out and

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<v Speaker 4>like was like we love Deadlove you know. So it

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<v Speaker 4>was so great, but it's very vulnerable those first showings.

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<v Speaker 4>Even the second screening at Sunday, it's like I don't

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<v Speaker 4>even remember if there was any walk ups. Like, so

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<v Speaker 4>after that first one then it felt like it found

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<v Speaker 4>its flow. I think it played two more times at Sundance.

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<v Speaker 4>Both times it was awesome, lots of laughting, and then

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<v Speaker 4>it would go to Rotterdam and that was really positive

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<v Speaker 4>south By, you know, so it I think it was

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<v Speaker 4>just that first one that was difficult, and then it

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<v Speaker 4>seems like People. It kind of found its flow after

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<v Speaker 4>that first one.

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<v Speaker 2>What's next for the movie.

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<v Speaker 4>It's going to be playing at IFC in New York

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<v Speaker 4>about mid March, so we're gonna go there, and then

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<v Speaker 4>it'll play at Lemielle Glendale in end of March, in

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<v Speaker 4>La some Almo Draft Houses, the Review Theater in Toronto,

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<v Speaker 4>so it'll have a little theatrical tour, often with the

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<v Speaker 4>Stinkle Vision cards, so the film is being played in

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<v Speaker 4>stinkle Vision where we pass out these cards and then

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<v Speaker 4>you scratch and sniff along with the film and smell

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<v Speaker 4>these disgusting smells, which has been really fun. Yeah, So

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<v Speaker 4>that's what's.

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<v Speaker 2>Next, and what's next for you.

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<v Speaker 4>What's next for me is I'm writing my next movie,

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<v Speaker 4>a very slow process, not so dissimilar from writing this one,

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<v Speaker 4>where I'm just talking to a lot of different people,

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<v Speaker 4>collecting ideas and trying to develop a central protagonist that

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<v Speaker 4>I'll build a film around. So nothing clear to report,

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<v Speaker 4>but just in the process of trying to get the

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<v Speaker 4>next one cooking.

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<v Speaker 2>And then you're still acting as well as writing all this.

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<v Speaker 4>Yes I am, yes, I'd usually do you know, a

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<v Speaker 4>couple films a year just as an actor. In someone

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<v Speaker 4>else's movie. So, talking right now to Mary Dottoman who

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<v Speaker 4>directed me and Booger, we might do another project together

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<v Speaker 4>and then the Canadian filmmakers. So yeah, I try to

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<v Speaker 4>keep the muscles working a little bit by acting in

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<v Speaker 4>someone else's film, twen directing my own.

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<v Speaker 2>Is there a good place for people to keep up

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<v Speaker 2>with you and your work?

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<v Speaker 4>Yeah, they could go to the Dead Lover film Instagram

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<v Speaker 4>page and there will be all updates about Dead Lover

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<v Speaker 4>and sometimes if I'm in another film, we'll throw something

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<v Speaker 4>up on there, So that would be a great place

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<v Speaker 4>to go to keep in the loop.

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<v Speaker 2>Well, Grace, thank you so much for your time. It

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<v Speaker 2>was such a pleasure talking with you.

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<v Speaker 4>Yeah, it's so nice talking to you, Mike. Thank you.

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<v Speaker 5>I love the dead before their clue, the blooming fleshful meet.

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<v Speaker 3>Hod upon me.

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<v Speaker 4>Nothing.

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<v Speaker 5>I love the dead before they rise, No farewells, no goodbyes.

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<v Speaker 1>I never even knew you are now running the face.

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<v Speaker 5>While friends and lovers mourn your silly grave. I have

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<v Speaker 5>other uses for you, darling.

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<v Speaker 1>Stand stand, did Donna take care?

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<v Speaker 3>Did take.

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<v Speaker 4>Then?

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<v Speaker 1>Take it? H I love the data before that they're

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<v Speaker 1>brewing fresh hot meat out to have her eyes, the

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<v Speaker 1>fun mesic