Domenica Cameron-Scorsese is a Tribeca alum whose short films “Spanish Boots” and “Roots in Water” played the festival. Her first short, “A Little God,” won the Torchlight Short Film Award at the Woodstock Film Festival. In addition to film, Cameron-Scorsese directs theater: her production of “A Number” by Carly Churchill is currently playing at Chicago’s The Runcible Theatre Co. She is the daughter of filmmaker Martin Scorsese and author Julia Cameron.
“Almost Paris” made its world premiere at the Tribeca Film Festival and hits VOD today, January 9.
W&H: Describe the film for us in your own words.
DCS: “Almost Paris” is a very personal view of an incredibly complex financial story. As we follow the journey of Max, a former banker who returns to his childhood home to get back on his feet in the wake of the mortgage lending crisis, we discover the impact of these events on his friends and family. Max finds that his professional and personal behavior must change. He learns how to show up and give back to those he loves.
W&H: What drew you to this story?
DCS: I welcomed the opportunity to make an ensemble piece, believing in an intricate matrix of human relationships. I have often focused on family dynamics in my prior work. This script explored the impact of financial stress on a family unit. It also mirrored the healing quality of honesty — difficult authenticity led to moral breakthroughs for the characters.
In my previous short films I focused upon personal turning points found by facing often unsavory and difficult truths about character and what makes us who we are. This film also traces the healing nature of forgiveness as the characters admit to each other their flaws and frailties.
In the midst of what could be a bleak outlook, it was important to me to show the redemptive power of love. This film deals in romantic love, familial love, and the bond of love among friends.
W&H: What do you want people to think about after they watch the movie?
DCS: It is my hope that the audience can connect and identify with the people in this story. Perhaps one of the family members will remind them of someone they know and that recognition may lead to an emotional “ah-ha” moment. I found this film shows the blessing of coming to want what you have — maybe the audience can connect to that.
W&H: What was the biggest challenge in making the film?
DCS: Our greatest challenge, which I believe is inherent in independent filmmaking, was making the most out of our limitations — finding the best way to tell the story no matter what! Our film was tremendously ambitious: on an ultra-low budget we had 21 locations, 20 speaking roles, and 21 shooting days. We had amazing support from our financiers, Tom and Cynthia Rosicki, and their community and it really took a village to make this film possible.
W&H: How did you get your film funded? Share some insights into how you got the film made.
DCS: Michael Sorvino approached the Rosickis, who were trusted friends, with this project. They decided they wanted to fully fund the film. They helped rally the town of Oyster Bay to our aid. Their friends and family helped us in every conceivable way.
W&H: What’s the best and worst advice you’ve received?
DCS: The best advice: You just need to work.
The worst advice: Stop because you can’t make it better.
W&H: What advice do you have for other female directors?
DCS: Keep working! Each time you make something it is more ammunition, more growth, and one more reason why you should get to make the film that stirs your soul. Also, pick collaborators who see you as their director not as “a woman director.”
W&H: Name your favorite woman-directed film and why.
DCS: These female directors and their works that have been most influential to me. Choosing one is not possible. Also, I don’t watch a film because it has been made by a woman — I typically find that out after the fact.
Barbara Kopple’s “Harlan County, USA” — brave, intimate, and powerful storytelling. Penny Marshall’s “Big” and “A League of Their Own” for her great humor, humanity, and ensemble improv. Amy Heckerling “Fast Times At Ridgemont High,” an ensemble comedy with brilliant casting and unforgettable performances.
Andrea Arnold’s heartbreaking and riveting “Wasp.” Debra Granik’s “Winter’s Bone” for the devastating world and brilliant performances. Allison Anders’ sensuality, sense of place, and color in “Gas Food Lodging.” Mary Stuart Masterson for the ensemble, romance, and humor in “The Cake Eaters.” Daisy von Scherler Mayer’s great absurd humor in “Party Girl.” Rebecca Miller’s “Personal Velocity,” [because of its] personal, searing, and soul searching performances.
Jane Campion’s haunting, visceral, emotional narratives in “The Piano.” Kathyrn Bigelow’s amazing worlds and full immersion into the nature of the story in “K-19: The Widowmaker” and “Point Break.” Sally Potter’s vivid world and wild adaptation in “Orlando.”
And Nora Ephron, Jodie Foster, Sofia Coppola, Anjelica Huston, and my mother, Julia Cameron (“God’s Will”) for showing me yes, it is possible!
