Lesbian film director Marina Rice Bader is best known for her work on films like A Perfect Ending and Elena Undone. She is also the first out filmmaker to offer her latest film, Anatomy of a Love Seen, to the LGBT community through direct distribution.
Direct distribution is when filmmakers bypass the traditional Hollywood distribution channels and distribute a film themselves. It’s a strategy both Joss Whedon (Buffy the Vampire Slayer, Angel) and Louis CK (Louie, American Hustle) have done in the past to great success. Bader has released her film, Anatomy, to the public through Vimeo, via the film’s Web site anatomyofaloveseen.com
Anatomy got its release online in mid July, soon after the film had its premiere at the 32nd annual Outfest Los Angeles LGBT Film Festival. The film is about two actors who film a love scene, and end up having an affair, break up and then have to re-film the love scene that started it all.
Bader chose to use many actors who are more comfortable behind the camera instead of in front of it for a more realistic feel. Sharon Hinnendael, Jill Evyn and Constance Brenneman come with a larger resume for being in front of the camera than many of their costars.
“Sharon, Jill and Constance are all trained actors,” Bader said. “As for myself, absolutely more behind the scenes, along with the rest of the crew. With the film-within-a-film concept I think it was the only way to make it look and feel like you’re really on a movie set. Generally the crew is not excited about being on camera, but they were all such good sports about it, and really they just had to do their jobs. When we screened at Outfest I think they got a kick out of seeing themselves on the big screen, which rarely happens.”
The only person in Anatomy that Bader has worked with before is Kieran Valla, the rest all submitted and auditioned.
“There can be a comfort level when working with people you know,” Bader said. “But sometimes that can work against you – it really just depends on the project and the personalities. On this film all three ladies submitted themselves online, which I am so very grateful for. Sharon and Jill just rocked it individually and when I put them together their chemistry was fantastic. Slam-dunk! As for Constance, she came in to read for the role of Mal, but within just a few minutes I knew she was my Anne, who turned out to be an incredibly pivotal character.”
As for casting herself in one of the roles, Bader admits that casting an actor to play a director was something she didn’t quite know how to do.
“I was originally going to cast the role of Kara,” Bader said. “But quite honestly I couldn’t wrap my head around directing an actor to play the director directing actors in an improvised movie. It was one too many layers for me! I had a great time playing Kara, and it was relatively easy to switch from director to actor since the character was basically me. I just had to be real and organic and in the moment. The challenge was the improvisation – you never knew what the talented Sharon, Jill and Constance were going to toss your way – and of course there were some quite emotional scenes, as well, that I had about 30 seconds to prepare for, which was interesting. By playing Kara I was able to accomplish what I initially set out to, which was to direct from inside the story.”
Bader also admitted that writing her own stories is more appealing to her as opposed to writing a script from a story already written by someone else. The organic growth of the story and the characters are something she “falls in love with to the end”.
“I have so many stories I want to tell,” Bader said. “So many women inside me that have yet to see the light of day, so it’s hard for me to imagine taking on someone else’s existing project. Doesn’t mean it won’t happen, I just can’t see it right now.”
She also feels very strongly about writing films that are about, and for, women. Like most women filmmakers, it’s clear that she feels that there just aren’t enough films, and roles, for women out there.
“I find women endlessly fascinating on just about every level,” Bader confessed. “Most of my friends are women, and I’m a woman so I know my subject matter. That’s not to say I won’t at some point include well-rounded dudes or a male-driven B story (I actually have one planned for down the road a bit), but the leads will always be women. We need more stories for, by and about us, we need for the generations down the road to see women represented well at this time in our history – that’s a concept everyone should wrap their heads around.”
It appears that Bader’s risk in direct distribution has paid off and it’s definitely something the director will do again if it suits the project.
“I’m incredibly happy with the success of our initial release!” Bader exclaimed. “I think each project has its own destiny in regards to a distribution path, but yes, I would do it again if the project was right – absolutely. I really wanted to try something different with this project and thought it would be amazing to have people from all over the world be able to enjoy the film immediately after the premiere. I made the film for our community, so it made sense to me that I should get it to them as quickly as possible. In traditional distribution a film can be available in the U.S. months before anywhere else, and I’m just not a fan of that type of exclusion – Anatomy of a Love Seen has now been viewed in over 90 countries.
There has been so much personal gratification with this method because it keeps me close to my audience, and I never have to guess where my movie is available, because it’s everywhere!”
Anatomy of a Love Seen is available for $5 for a 72-hour rental period at anatomyofaloveseen.com
