We chatted with writer and producer of The Sound That Broke the Silence, Philip Stonhouse about his experience transitioning from in front to behind the camera and his journey along the way. Screened at this year's ReelWorld Film Festival, this short was one of the ACTRA Young Emerging Actors Assembly (YEAA) showcase.
The film takes you on a brief journey into the lives of three families (one Caucasian, one South Asian and one Afro-Canadian) and how those lives change once they encounter one another, including interracial relationships.
Geeta Wahab: How did you find the transition from acting to writing and producing?
Philip Stonhouse: To a writer: I think I always loved writing. It was a very natural thing to me. Ideas come to me but the nice thing is that my acting and my experience with past scripts educates me in the development of my own. Being an actor also gives me insight into how actors read a script and how I should write things to get the performance needed.
To a producer: It was quite difficult in many ways, it felt like the exact opposite of performance: all preparation and organization. It is one of the most stressful jobs there is because in the end everything falls on you. A few days before shooting one of our locations dropped out that we were filming in for a whole day. Luckily, I have some great friends that could help me out.
GW: What inspired you to write and produce?
PS: To write: Every time it begins with an idea. The Sound That Broke the Silence was first inspired by a dream. Where I was the father rushing to my pregnant wife and silence fell. I think the actual inspiration came from my childhood when through an accident I lost my hearing. I remember that silence because of how terrifying it was. I was told I'd never regain my hearing. For about six months my world was silent. I remember getting the bandages off and hearing the first sound in a sound proof studio. Very slowly all my hearing came back. I was very lucky but I've never lost that memory of absolute silence.
To producing: I think I first started as necessity because I wanted to bring this idea into reality and I didn't know who else could sell my show to all those that needed to be involved.
GW: What inspired you to make this film?
PS: I had the idea for about a year but it was YEAA and ReelWorld that inspired me through their partnership. I went to the pitch meeting not thinking I'd even pitch my idea never having made a film before but everyone there was just so supportive and wanted to help ideas come to fruition that I said my idea. The response from everyone was so empowering that it pushed me into action and here I am.
GW: Did you experience any challenges along the way?
PS: Many, many challenges. I think the largest thing that is sort of all encompassing was the lack of a budget. I know for most filmmakers in Canada, including myself, it can be hard to get funding. This makes it hard to get the right talent, the right, equipment, the right locations and so many things. I don't like to settle so some things took me forever to find. I was lucky to get some very amazing people especially my director Nathalie Younglai and cinematographer Richard Hughes that seemed to do everything in their power to help me out.
There was a few thing beyond our control we had to change from the original concept so changing those were especially hard; like trying to get such a huge idea into a ten minute short.
GW: What are a few words of advice you would give a fellow artist thinking of making the move?
PS: Just start doing it. It can seem like a huge thing to confront but just take it a challenge at a time and you will get through it. The Toronto film community is also ridiculously supportive. So start meeting people, talk about ideas, if you don't know ask. When you find that great idea do everything in your power to make it happen.
Follow him on Twitter @philipstonhouse
PHOTOGRAPHY COURTESY OF DENISE GRANT (STONHOUSE IN PURPLE SWEATER); DIRECTOR OF PHOTOGRAPHY, RICHARD HUGHES (FILM STILLS)