Jessie, a 29 year old failure, is out of money, friends, and work. She's too embarrassed to ask her mom to move home, but doesn't have any other option so she does it in secrecy. Jessie spends her days masturbating and smoking weed and her nights moving stealthily from closet to closet, hiding from her mom and her recent series of failures. Through the slats of the closet doors, she gains access and insight into her mothers life, and comes to realize that she's not the only one who needs help.
5 questions with Homebody director, Jacob Fallon at the half-way mark.
Monday, May 29th, 2017
1Hi Jake! Thanks for being a part of our festival. First, what was the initial seed that inspired you to make Homebody? Originally I set out to write a spec script for Broad City, hence the raunchy opening, but I was definitely writing under the influence of a recent struggle I had with finding a job. We're talking about my early twenties, which, in the modern world, seems to be either an age at which my peers are experiencing either abundance or squalor, thriving or merely surviving. I certainly fell in to the latter category, and via the pervasion of social media I was constantly exposed to people my age, friends of mine, who were (or at least appeared to be) absolutely killing it in their work and personal lives. At its core Homebody is about comparative success which is a phenomenon my generation seems to be experiencing in a unique way.
2You wrote this film as well. How important, in your opinion, is the script in the overall process of making a film? The script is absolutely vital, but it's important to keep in mind that it's a living, breathing thing. The first draft of Homebody was 17 pages which was then paired down to 15 which soon dwindled to 12. On day one of the shoot I had what I felt was an extremely tight 9.5 pages, and it was even more sheered down in post-production. I know that these numbers are kind of meaningless on an island, but the point is that I couldn't be rigid or precious with the script. The goal when making a film is to get the vision in your head translated on to the screen, and while a script is a Rosetta Stone that helps communicate the vision of the film to the crew, there's no substitute for the direct molding that you do when you're physically in the space.
3What was the biggest thing you learned from making this film? If you want to get it done, all you have to do is get it done (no matter the obstacles). Prior to making Homebody, I'd say that I was fairly willy-nilly when it came to producing films. Making movies felt like this abstract thing that other people were somehow finding a way to do so easily, and I was just waiting for someone to give me the opportunity to do the same. Forget that. I've had a ton of discussions with people since making Homebody about how they have this great idea that they're extremely excited and passionate about, but don't know how to get made. Things don't get made, people make things. Two days leading up to our shoot we were told that our permit paperwork for the bar we were shooting in didn't go through. I spent 12+ hours of valuable prep time collecting signatures from the neighbors surrounding the bar, because the fact of the matter was if I didn't do it, we would have no movie. Everything in your way has a solution, you just have to push and push until something gives way.
4There seems to be a trend about young adults struggling to adjust to the adult world. Why do you think that is and why did that subject matter interest you? I don't think that the right of passage in to the adult world is uniquely difficult to the generation that I've grown up in, but we are the first generation to experience the beginning of adulthood in the social media era. I remember watching TV shows when I was a kid in which the characters would go to their 10 year high school reunions and how people attending them experienced these enormous ego boosts or frightening questions of self worth because they were suddenly forced into a situation in which they could determine their level of success as measured by the people around them born of the same conditions. It was always this huge moment of existential crisis over who was succeeding the most and who was doing the worst. In this day and age we're going through that same crisis ALL THE TIME because we're constantly exposed to how well or poorly people are doing by looking through the window of their Facebook page. We aren't struggling. We aren't lazy. We're just forced to hold ourselves to a higher standard than anyone who came before us. We expect immediacy, and when we don't get it we scold ourselves for not achieving at the same rate as those around us.
5What's next? Making more films! I directed and produced a couple of projects in the last few weeks, and am now starting preproduction on another short film. Meanwhile, I have a sci-fi feature film that I'm hoping to find financing for within the year!
About the Interviewer: Ben Hicks
Ben Hicks is a writer/director and co-founder of Fandependent Films. Ben is currently working on making Fandependent Films awesome and is finishing up his first feature film entitled Kids Go Free to Fun Fun Time which was selected for the 2017 IFP Narrative Lab.
Share this film
Please share Homebody with your friends and help this filmmaker win!