A Case Study
Narrative | Dramatic Features
Film Name: Standstill
Genre: Atmospheric thriller
Date: September 2019
Director: Katia Shannon
Producer: Katia Shannon
Writer: Katia Shannon
Cinematographer: Derek Branscombe
Editor: Katia Shannon
Composer: Tyler Brown
Production Company: Flyer Films
Budget & Financing: Grant of $10000 (CAN) from Quebec Arts Council (CALQ), Personal Investment. We’re incredibly grateful to the whole team for dedicating their time and expertise to making this film.
Shooting Format: Arri Alexa Mini & Cooke Anamorphic Lenses
Screening Format: Projecting in scope format with an immersive surround mix
World Premiere: Oscar-qualifying Calgary International Film Festival
Awards: Nomination for the EDA Award for Best-Female-Directed Short (Whistler Film Festival) and Best Film Nomination (Durham Region International Film Festival)
Website: www.flyerfilms.org/standstill
The Official Trailer for STANDSTILL written and directed by Katia Shannon
indieactivity: What is your film about?
Katia Shannon (KS): Standstill is an atmospheric thriller about misunderstandings and the isolation that comes with it. It’s inspired by my personal experience with Type 1 Diabetes, the fears rooted in me because of it, and the desire to use the power of cinema to externalize sensations that no words can express. My goal is also to invite empathy, especially when faced with someone we don’t understand who is in need of help.
Tell us about the festival run, marketing and sales?
Katia Shannon (KS): Standstill premiered at the Oscar-Qualifying Calgary International Film Festival in September 2019 and has been playing worldwide since, including at HollyShorts! It was nominated for the EDA Award for Best Female-Directed short at Whistler and for numerous Best Short awards. We are now three-quarters of the way through its festival run, Canadian Screen Awards qualified, and are planning a targeted online release in 2021. We are looking forward to releasing the film online with a creative strategy to reach its built-in audience as well as lovers of thrillers. Watch this space!
Give the full Official Synopsis for your film?
Katia Shannon (KS): At first, Amanda seems like she is about to take life by storm, driving herself and her goldfish to their new home. When excitement turns to panic, Amanda must expose her vulnerability to save herself. Although she is surrounded by people help is not easy to find. Standstill challenges the barriers we put between each other, both physically and emotionally.
Development & Financing?
Katia Shannon (KS): I wrote the first draft of Standstill in 2016 and it took two years of development and waiting for rounds of financing to be able to go into pre-production. The Quebec Arts Council grant was instrumental in enabling the project to happen and it was released in late 2019. It’s amazing how much time I feel like those words are just now having a life of their own!
Production?
KS: The first and possibly quickest part of the process was the casting. I met with Victoria Diamond at a coffee shop after she read the script and our first meeting turned into a 2h30 chat. It was clear to me that we would be able to establish a common language and that we aligned on our understanding of the character. From there we worked together in rehearsals, exploring Amanda’s motivations and diving into the heart of the character.
During pre-production, securing the highway was the most complex endeavour. I went on a spontaneous tech scout two weeks before our original filming dates and found construction trailers stacking up on the road we had been authorized to film on. Last-minute road works meant that our permit was revoked with no indication of a possible new date. After working through other options and ideas, we pushed everything back by 6 weeks to enable a bit of flex time and received the “second’’ authorizations, only 3 days before filming after 3.5 months of discussions. It confirmed my feelings about the importance of never taking anything for granted, triple-checking, and following your guts.
I particularly enjoyed the collaborative process with Cinematographer Derek Branscombe, which was built on a number of years of friendship. Every shot was planned thoroughly, using 3D imagery and tech scout photos, so we barely needed to talk during filming because we were following the roadmap we had set out together.
This preparation ultimately meant that we were able to achieve a tight schedule on a very physically demanding set. The heat was up at 37 degrees and long days on baking concrete. Everyone looked out for each other and made sure that were had everything possible to stay hydrated. It was a true team game and the crew is just the most talented bunch, I can’t wait to work together again.
Post-production always feels really slow to me and I was editing this film over an 8-week period. Once we committed to picture lock, it was amazing to see the colour, music, and sound design elements come together, especially for a thriller where the tension and atmosphere rely so much on sound. Sound designers Charles-Alexandre Durand and Casey Brown worked on creating a rich and layered audio experience. It is both reflective of the highway environment and interwoven with impressionist elements such as the cry of a wale to mark the shift from realism to impressionism as Amanda starts losing control. Coupled with the soundtrack from Lenoir and Tyler Brown, we mixed the film to create a total immersion into Amanda’s world.
Festival Preparation & Strategy?
KS: Standstill premiered at Calgary International Film Festival. The key for us was to premiere in a well-recognized, Oscar-qualifying festival to give us the springboard to reach our full audience. We’re very grateful to Calgary for being the first to program Standstill, which has led to numerous other screenings. The film has close ties with the type 1 diabetic community and we worked closely with the Calgary branch of the JDRF throughout the launch weekend to bring that initial launch momentum. We’ve subsequently played around the world and the festivals just keep coming! In terms of strategy, the most important (and most difficult) part is understanding how the film might fit into a particular program. The time spent watching films programmed in previous years and reading the line-ups really is worth it, and you get to watch some great movies too!
The Release?
KS: The biggest bonus for us this year was screening Standstill at the drive-in as part of the Durham Region Film Festival in Oshawa. Being a film made mostly on the highway, we always joked that the best way to watch this movie would be in a car so to have that opportunity was fantastic.
Advice from the Filmmaker?
KS: Keep maintaining those relationships, double-check everything, and have a plan B! Postponing the shoot by 6 weeks felt frustrating at the time but actually allowed us to do a lot more prep work and keep our first location since the crew was still available.
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