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THE DARK SIDE 2
THE DARK SIDE 3
SYNOPSIS
When the lights go out during Hurricane Sandy, Dan falls
and butt-dials his ex-girlfriend. Her name also happens to be
Sandy. He takes it as a sign to visit her. Mimicking the hurricane’s
capacity to cross boundaries, interviews with firefighters who lost
their homes during Sandy are intercut with this romantic comedy.
The resulting clash of genres creates unexpected juxtapositions
that illuminate both the global and local dimensions of the storm.
“A Klee painting named ‘Angelus Novus’ shows an angel looking as
though he is about to move away from something he is fixedly
contemplating. His eyes are staring, his mouth is open, his wings are
spread. This is how one pictures the angel of history. His face is turned
toward the past. Where we perceive a chain of events, he sees one single
catastrophe which keeps piling wreckage and hurls it in front of his feet.
The angel would like to stay, awaken the dead, and make whole what has
been smashed. But a storm is blowing in from Paradise; it has got caught
in his wings with such a violence that the angel can no longer close them.
The storm irresistibly propels him into the future to which his back is
turned, while the pile of debris before him grows skyward. This storm is
what we call progress.”
Walter Benjamin, On The Concept of History, 1940
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DIRECTOR’S STATEMENT
The German writer Walter Benjamin in his short 1940 essay On The Concept of History, talks
of the rubble that the Angel of History sees as he looks backwards in the midst of a storm we
call progress. The storm that was Hurricane Sandy and its aftermath recalled to me these
lines of Benjamin and are indicative of how I made this unusual film. I felt some unique
quality of what Benjamin speaks of in these lines was illuminated during the darkness that
struck many parts of New York City in the days following Hurricane Sandy. The storm seemed
to breach not only physical walls and barriers but also invisible but no less real walls between
people, between ideas of what is a natural disaster and what is a man-made one, and
between the usually well-defined zones of the present and the past.
As a low-budget NYC filmmaker, I have always been aware that the streets of the city offer a
virtually free location. In the aftermath of hurricane Sandy, these had a unique quality that had
both documentary importance and for me reverberated with opportunities to breach
boundaries between genres and between fiction and non-fiction. In regards to cinematic
inspirations, I had in mind the work of the English documentary filmmaker Peter Watkins,
whose work mixes fiction and documentary, and the work of Luis Bunuel, especially
The Exterminating Angel. In this Bunuel film, guests at a dinner party are unable to leave until
they become trapped by these feelings of inertia while outside there is another world.
From the beginning I had to work quickly and with no time to plan if I was going to capture
what was happening. Based on our previous experience working together and their
availability, I was fortunate to be able to assemble for the first day of shooting co-producer
Ged Dickersin, cinematographer Valentina Caniglia and actor Edoardo Ballerini. Edoardo
asked me about his character. I said that for now the costume ideas we had agreed upon
would have to suffice. We had no way of recording audio. I would just have him walk through
the repair crews and the dark streets of the East Village. Afterwards, if the footage looked
promising, I would create a story, elaborate his character and cast additional actors to play
other characters and schedule additional days of shooting. When I got home early the next
morning and looked at the footage, I knew I wanted to try to push forward with this
experiment.
Another breakthrough came when Ged and I went out to Queens to volunteer. The volunteer
station we had expected to find wasn’t there but we discovered instead a charity established
after 9/11 to assist FDNY firefighters and their families. In the course of delivering supplies,
I was able to tentatively discuss my plans to shoot a movie with two of the firefighters and I
made plans to stay in touch with one of them. The filming I began with Edo became the genesis of the fictional part of the film and the conversations I had with NYFD firefighters who
had lost their homes became the basis for the documentary dimension to the film. Combining
romantic comedy with the documentary will likely strike audiences as oxymoronic on one level
but it does I think prove very successful at being a clash that is both rewardingly provocative
and entertaining. Two other elements that proved decisive in completing the open-ended project were the quintet led by Paul Neubauer [I need to find out how to refer to this quartet] who
play Romani music (also known as “Gypsy music”) and permission from two of the firefighters
to use footage they had shot during the storm.
The way these various phenomena--visual and auditory--swirl around—like the unexpected
people and objects we see swirling around Dorothy’s house when it is lifted by a tornado in
the Wizard of Oz—is the figurative dimension that breaches the film’s documentary form and
underlines it at the same time.
Richard Ledes 2014
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Q&A WITH DIRECTOR
RICHARD LEDES
1. Can you talk about the casting
process? How did the key cast become
part of this film? What were you looking
for in the cast/characters?
I like to build long- term relationships
whenever possible with cast and crew.
The filmmaking process can be thought
of as a kind of journey held together by
multiple narratives: these include the
story you are telling, of course, but also
the journey of making the film’s story
come to life. Being on a journey is also a
metaphor for life, so to work with people
and try to connect with them on all these
levels, I think, improves the work. It also
means I have confidence in the people I
work with. The high quality of low-cost
video equipment these days means it’s
possible to start a film without raising a
significant amounts of capital--as was
the case with The Dark Side--but prior
experience of working together is even
more valuable. It replaces the role of an
extended period of pre-production. In the
case of The Dark Side, I was fortunate to
have previously worked with three of the
actors: Edoardo Ballerini, Fred Melamed
and Bill Raymond. The first segment of
shooting was in the first few days after
the storm and New York City was a
disaster area with many regular services
that make a city livable not functioning
in many areas. I reached Edo by phone
and he said he was free the next day. By
chance I had been reflecting around that
time on the discussion of love in Plato’s
Symposium and the chorus
on “Eros” that comes unexpectedly
in the Antigone of Sophocles,
wondering how I could work them
into a film. Edo and I discussed a
character living in the East Village
with a love interest as yet
undefined. In order to begin shooting
we would at least need costuming so
we discussed a hipster type--a kind
of “flanneur,” as the French would
say--with a knack for
computers and who saw his goal in
life to be a “type” by always
appearing in the same basic outfit.
When Edo headed down with myself,
producer Ged Dickersin and
cinematographer Valentina Caniglia
to the East Village that first night,
none of us had any idea where this
would go. For Edo, it might have
been a day’s work. In fact, spread
over four months, we filmed for approximately three weeks. As for the
cast members I did not know
previously, I met with each of them
individually the first time. I am
always looking for actors that I can
connect with as individuals one-onone. For me, that’s essential.
2. What was the process of making the
film? Can you talk about pre-production
as well as production?
3. What is the relationship between this
film and your other work, or where does
it fit in your filmography?
Pre-production was three phonecalls to an
actor (Edoardo Ballerini), a line producer
(Ged Dickersin) and a cinematographer
(Valentina Caniglia). If I wanted to build a
film with a scene shot in the immediate
aftermath of hurricane Sandy, then I had
no time to waste. The opportunity wasn’t
only the transformation of New York CIty
from the hurricane, it was also that I had
the availablility of these professional
filmmakers with whom I had worked
previously. We joked that we were like
some small elite military unit but the
comparison wasn’t totally without basis.
With the high professionalism of each
member of the group I knew in this
extraordinary situation there was a good
chance they would rise to the challenge
and I would get something
exceptional. That proved to be true.
Looking at the footage when I got home
that night I stayed up until dawn writing
the outline of a story. As I met the various
actors I cast or learned that the actors
I had worked with previously would be
available on such and such a date, I wrote
them into the evolving story.
After the first night of shooting there
was a break of approximately a month,
during which I conducted a second round
of pre-production in which we prepared
for a second period of shooting. By that
time I had Ali Ahn cast as Sandy and I
was very excited to film her work with
Edo. Fred Melamed and Bill Raymond
are two actors with whom I have worked
before and I am always thrilled to work.
Erin Darke and Emily Tremaine both give
memorable performances and Hank Chen
and Max Jenkins are comic gold together.
In total we finished the film in a total of
four shooting periods.
I always like to think of films as
experiments. It’s important to me to
explore some aspect of the process
each time combined with re-examining
questions that seem to persist for me. Of
course, there are different kinds of
experiments, some of which require long
and arduous preparation, which I have
also done. In this case, it was to take
advantage of the speed with which I
could hire the nucleus of a professional
group of actors and crew with whom I
was accustomed to working, the
relatively little money that had to be committed at the start to finance a
single initial day of shooting as a test
and to yoke together a fictional story with
a documentary.
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CAST
EDOARDO BALLERINI has been
called “an actor to watch” (Variety), “a
most promising actor” (Los Angeles
Times), and “a heartthrob” (Hollywood Reporter). Best known for his
memorable turn as the junkie “Corky
Caporale” in The Sopranos and as the
hot-headed chef in the indie hit
Dinner Rush, Edoardo is currently
filming Michael Almereyda’s
Experimenter: The Stanley Milgram
Story opposite Peter Sarsgaard and
Winona Ryder. He was last seen in
the political thriller No God, No Master
opposite David Strathairn. Other recent work includes the HBO/Cinemax
pilot Quarry and the feature film Omphalos, both in post-production. On
stage, Edoardo was last seen in John
Jesurun’s legendary serial play Chang
in a Void Moon at St. Mark’s-in-theBowery. Prior stage credits include
Honey Brown Eyes at the Clurman
Theater and Pirandello’s The Man with
the Flower in His Mouth at Theater
for the New City. His short film Good
Night Valentino premiered at the 2003
Sundance Film Festival and later
screened at MoMA and the Museo
Nazionale del Cinema in Torino, Italy.
ALI AHN was born and raised in Los
Angeles. Ali Ahn splits her time between
New York and Los Angeles, working in
theater, television, and film. She most
recently completed shooting NBC’s
Blackbox and can be seen in the upcoming film, Girl in The Book, opposite
Emily Van Camp and Michael Nyqvist.
Some of her stage credits include:
Romeo and Juliet (Shakespeare on the
Sound with songs by Tony award winners Stew and Heidi Rodewald), StrikeSlip (Humana Festival @ Actors Theatre
of Louisville), Sugar House at the Edge
of the Wilderness(Ma-Yi), Twelfth Night
(Pearl), Importance of Being Earnest
(The Pearl), House of Bernarda Alba
(NAATCO), Lights Rise on Grace (Partial Comfort), As You Like It (A Noise
Within), Winchester House (Theatre
@ Boston Court), Moonshine (Redcat,
Edinburgh Fringe Festival),
A Midsummer’s Nights Dream
(Theatricum Botanicum), and Visible
Cities (Singapore and Naples Theater
Festivals). Her film and television credits include: Liberal Arts opposite Josh
Radnor and Elizabeth Olson, Louie,
Blue Bloods, White Collar, Law & Order:
SVU, Zero Hour, and Ugly Betty. She
received her B.A. from Yale and her
M.F.A. from CalArts.
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FRED MELAMED is a New York writer and actor who became
EMILY TREMAINE was born in Minnesota. She is best known for
the role of Audrey Bidwell in The Blacklist on NBC. Her recent film
credits include Experimenter , The Wolf of Wall St, Selfless, and This
Is Happening. Television credits include The Big C, The Good Wife,
and Deception. Currently, Emily is shooting the Untitled Rock and
Roll Project a pilot for HBO, directed by Martin Scorsese. Emily is a
graduate of Sarah Lawrence College.
In addition, Melamed has appeared in a host of Woody Allen films,
including Hannah and Her Sisters, Radio Days, Another Woman,
Crimes and Misdemeanors, Shadows and Fog, Husbands and Wives,
and Hollywood Ending. He has also played significant supporting
roles in Suspect, The Good Mother, The Mission, The Pickup Artist
and other films.
ERIN DARKE is originally from Michigan, but now happily calls New
known for his portrayal of “sensitive” villain Sy Ableman, in Joel and
Ethan Coen’s 2009 film, A Serious Man, which was nominated for
Best Picture, at the 2010 Academy Awards. New York magazine listed
Melamed’s work as among the Best Performances of the Decade, and
Empire called Sy Ableman “One of The Best Coen Bros. Characters
of All Time”.
On television, he plays Larry David’s smug psychiatrist, Dr. Arthur Thurgood, on
MAX JEKINS was born and raised in New York City. He is best
known for his appearances on the web series High Maintenance. Onstage, Max has worked at Classic Stage Company, New York Theatre
Workshop, and Williamstown Theatre Festival, among others. He
recently co-starred in Fort Tilden, which won Grand Jury Prize at
SXSW Film 2014. Television credits include 30 Rock and Gossip Girl.
This fall he will star alongside Debra Messing in
The Mysteries of Laura on NBC.
York home. Her film credits include Kill Your Darlings, Young Adult,
We Need to Talk About Kevin and the upcoming Seven Lovers, The
Drop, Still Alice, Beside Still Waters and Love & Mercy (w/Paul Dano).
Her TV credits include Girls, Pan Am, Mercy, The Black Box and the
pilot Irreversible (w/ David Schwimmer). She has also done many
plays and improvisation shows across New York.
HANK CHEN has acted on film, television, and commercials. Credits
include guest roles on Law & Order: Special Victims Unit, Blue Bloods,
and High Maintenance. He recently appeared alongside Robin Williams
and Mila Kunis in The Angriest Man In Brooklyn and will next be seen
opposite Jeffery Tambor in Amazon’s new series, Transparent. As a
host and comedian, he has made appearances on VH1, LOGO, and
worked with numerous web brands.
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CREW
RICHARD LEDES (DIRECTOR & WRITER)
Richard Ledes is a prize-winning filmmaker living in New York City.
His most recent film Fred Won’t Move Out, starring Elliot Gould
and Fred Melamed, premiered at the Edinburgh Film Festival and
played in cinemas in over 20 cities including BAM in Brooklyn.
The Caller (2008) stars Frank Langella and Elliot Gould and won
the “Made in NY Narrative Award” at the Tribeca Film Festival. A
Hole in One (2004) stars Michelle Williams as a young woman who
seeks out a lobotomy during the rise of the procedure in the 50s
and premiered at the Tribeca Film Festival. Foreclosure, a horror
film by Ledes has been picked up by distributor Virgil Films and is
coming out in 2015
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GED DICKERSIN - CO-PRODUCER
Ged Dickersin has been working on feature films in New York, for 27 years. He’s
worked with Jim Jarmusch, John Sayles, Nancy Savoca, Jim McKay, Tom DiCillo,
Woody Allen, Mike Nichols, Jim Sheridan, Abel Ferrara and Barry Levinson.
Since 2004, Ged has production managed, line produced and produced movies like
The Architect, Ira & Abby, The Education of Charlie Banks, The Guitar, The Caller,
Notorious BIG, City Island, Yelling to the Sky, Fred Won’t Move Out, Kelly & Cal, Welcome to New York. Most recently, he Executive Produced Barry Levinson’s The Humbling, starring Al Pacino, Diane Wiest, and Greta Gerwig.
VALENTINA CANIGLIA (CINEMATOGRAPHER)
Italian­born Valentina Caniglia is an experienced cinematographer.
In 2010, Valentina won two awards for Best Cinematography at the
6th Muscat Film Festival and the Hoboken International Film Festival, and one nomination at the Boston International Film Festival.
In 2014 Valentina won Best Cinematography at Louisiana International film Festival. Valentina’s cinematography credits include
Pomegranates and Myrrth (Al Mor wa al Rumman) which showed
at Sundance Film Festival 2009, Cannes Film Festival 2009, Berlin
2009 and Dubai Film Festival 2009. She filmed Return To Sender
with Bill Cobbs directed by 79th Oscar winner director and
producer Ravi Malhotra. Her work has been seen on HBO, MTV,
Channel Plus, ShowTime TV, Voyage TV.
EDITOR PETE STREET
MAKE UP ARTIST LAYNA ROBERT
ART DIRECTOR KEVIN O’DONNELL
COSTUME DESIGNER TERE DUNCAN
PRODUCTION DESIGNER JACK RYAN
CINEMATOGRAPHER VALENTINA CANIGLIA
EXECUTIVE PRODUCER JOSEPH INFANTOLINO
CO-PRODUCER GED DICKERSIN
WRITTEN AND DIRECTED BY RICHARD LEDES
“THE DARK SIDE”
hybrid documentary/fiction
New York, NY USA
CONTACT:
[email protected]
(646)552-0783
www.richardledes.com