#avatorres

Short movies are an art. Less than 30 minutes to tell a full story, and in this, Ava and Hellman are prodigies. Back now from Cannes Festival with their last movie, they talk us about their life, work and about “Killing Time”, a movie that, I’m sure, a lot of people identify with Evelyn. Now I leave you with the trailer and the interview of this amazing canadian duo. 

Hi, Ava and Helmann. Please start out by introducing yourselves. Tell us a little about you.

Ava: Hi, I’m Ava and I am a self-taught artist from Toronto, Canada. The power of cinema has always been something that attracted me, but it was not solidified until I saw films like Lost in Translation, The New World, and Las nueve reinas. I began doing photography when I was 16-years-old, and I made my first short film—which was an adaptation of “Macbeth”-- when I was 17-years-old.

Helmann: Hello, my name is Helmann, I’m also a self-taught director and writer from Canada, though I was originally born in Texas. I began writing scripts when I was 16-years-old and just started delving into short films, most of which we plan on turning into features down the road. Nowadays, life moves so quickly. One’s status is reflected in the work they do, how much money they earn, the things they possess… etc. What is important to you? What do you think of "living life today"? A: What is important to me is what I can learn from the world and having a true understanding of myself. I think when you open your mind and embrace the life around you, it makes it much more enjoyable. H: Living life one step at a time and trying to enjoy everything that comes with it. For me, Evelyn expressed the polar opposite of this belief, with the character choosing to live only for love, and then only for commodities. Talk to us about “Killing Time”. How did the concept begin? We initially heard about a young woman who checked into a five-star hotel to commit suicide, but not before maxing out her credit cards. Upon waking, however, the woman decided to live, presumably at the sight of her recent purchases. This is really what piqued our interest, the idea that life itself wasn’t worth living for; the commodities were.

There is something of you that inspired the making of this movie?

Once we started researching and found several cases of other people committing suicide in ritzy hotels, we definitely wanted to explore the topic a little more. However, instead of focusing on someone older, we decided to look at people in our age group and how, based on our experiences, there are quite a few college and university graduates stuck in limbo and still working at their part-time jobs long after graduation.

Why the decision to film with available light?

There’s something very intimate and romantic about the way it illuminates the characters. We really wanted this project to feel very natural and so we purposely used a steadi-cam while encouraging the actors to do some improv, specifically the opening sequence with Julia. We’re big fans of run-and-gun filmmaking and love working within our limitations, part of which includes the use of natural light.

Are the actors you used professionals?

No, everyone involved in the production is just starting out in the film industry.  

Where was this movie filmed and why did you choose that location?


We spent a while browsing through different hotels – the Hilton, Trump towers, and the Ritz-Carleton, among others – ultimately settling at the Shangri-La Hotel. One of the biggest reasons we chose this location was because it had so much character to it. The name itself, for example, is a reference to a novel by James Hilton called “Lost Horizons” where the Shangri-La represents a mystical utopia. Perhaps more fitting, the Shangri-La remains isolated from the rest of the world with its residents aging at a snail-like pace when compared to our own lifespan. There was also something very exotic and unique about the mise-en-scene, especially with the gold drapes and the shoji-inspired doors.  All in all, we felt that the hotel itself and the history of the Shangri-La as a mythical utopia played very well with the narrative.

What attracted you to writing and directing? Is there anything about those roles that you found challenging or unpleasant?

A: Directing and cinematography attracted me because it gives the opportunity to shape a world in a medium that is almost magical in the way it mimics reality. Growing up I was obsessed with drawing, music, painting, fashion, so when I “discovered” cinema, I knew it was for me. I never attempted to write my own screenplays, but I have always been an admirer of writers and their ability to build a world through words. I love the challenge of transforming what is written to life --which is essentially the role of a cinematographer: an interpreter and a visual writer rolled into one. There is however, one challenge that comes with cinematography that can be a little unpleasant, and that is the weight of delivering what I envisioned accurately.

H: Initially, I only wanted to be a screenwriter, but what really changed my mind was when I attended a meeting as a production assistant and I witnessed the scriptwriter being stripped of his creative authority as the director and producers fought over the direction of the content. During this time, I noticed that the writer was very absent, saying very little, and contributing even less, with the occasional “yeah… yeah I can do that” here and there. What I realized then, was that I wanted to continue writing, though I wanted to see the content in all stages of development so that my vision can be fully realized. This is not to say, of course, that no changes will ever be, but by working as director and/or, I could have more control in dictating the pace and any changes in the production. One thing that was very interesting about working as a writer and director on this project was rotating between the two. In some instances, I had to abandon what I originally wrote, no matter how special it was to me or how well I thought it worked as a writer, I had to look at the film from the perspective of a director, which was very rewarding and challenging. In the end, I think it taught me to be a little more ruthless to my own content and strive to create the leanest possible product without too much attachment as a writer.

Do you plan to move on from short independent films? Have you ever dreamed of shooting a feature film?

At the moment, we have 3 more shorts in the pipeline – Through Rose-Colored Glasses, All Things Beautiful and Macabre Christmas – all of which we plan on converting into features in the near future. We love making short films, but the main goal is to get into features.

Are there any funny anecdotes from filming?

At one point, while Marcus was waiting outside the door for his cue to deliver room service, an actual hotel attendant passed by, forcing him to duck into an alcove. It was kind of humorous throughout the production because it would occur a few more times and probably looked like we were involved in some kinky role-play.

H: When we were preparing to shoot the room service scene, one of the hotel attendants had wheeled a cart outside the suite. He had offered to bring the cart into the room, but I never let anyone inside the room out of fear that they might see the equipment and kick us out. So I awkwardly wheeled the cart off to the side, thanked him, and asked for a second glass of water, which was meant for one of the crewmembers. The hotel attendant was incredibly polite; he smiled and said “No problem, I’ll go grab another one now.” I then closed the door behind me and returned to the cast and crew who were all sprawled around the massive bed, awkwardly hidden behind the curtains and the office chair. “That was close,” I said when the hotel attendant suddenly appeared behind me. “Here’s your water, I— oh…” followed by a long pause as the hotel attendant noticed the cast and crew. He then set the water on a nearby table and smiled, quietly walked away. I was a little stunned because I thought he’d knock on the door instead of entering the hotel suite and also a little concerned that he might report us, but thankfully nothing ever happened. 

What express mostly beauty?

A: Growth. While I was in university, I worked part-time at a day care and what I loved about that job was being able to see the beginning stages of those children before we shape them; they are uncensored, curious, and with the whole world ahead of them.  As time passed by I saw how their vocabulary and coordination advanced along with other skill sets, and for me that is truly beautiful—the notion that we are here to grow, on a constant path of self improvement (if we chose to).

H: Abandoned sites. I think there’s something absolutely breathtaking about an abandoned house in the countryside or the remnants of an old factory because of its nostalgia and the fact that it has an established place in history. I love the way nature essentially reclaims the land with the trees and grass growing through crevices in the cement. Ultimately, I think it’s a very interesting moment when the past and present collide, and a wonderful opportunity for any cinematographer.

Where can people find you and your work?

Our film and photography portfolio can be found at: cantedpictures.com or, if anyone is interested in connecting, they can find us at facebook.com/cantedpictures.