Rob Munday
Winner of the ‘Best Live Action Narrative Under 15 Minutes’ award at Palm Springs International ShortFest Film Festival and nominated for the Grand Jury Prize of ‘Best Narrative Short’ at Slamdance, We Keep On Dancing is a charming and touching film centred around themes of boundaries and connections. Featuring an all-male cast and set in what could easily be described as the embodiment of the masculine environment, a garage, with this heartfelt tale director Jessica Barclay Lawton and writer Rhys Mitchell prove that narratives centred around cars don’t always have to be fast and furious.
“The film is about breaking down social barriers and finding common ground”
Speaking to writer Rhys Mitchell via email, he admitted that a large part of the inspiration behind making We Keep On Dancing came from the team’s desire to have a little fun on set. Stating that “nothing is more enjoyable than coming up with an idea and making it into a film or a piece of art”, though entertainment was high on their list of priorities, this film wasn’t all about fun for its crew. “We wanted this particular film to make people examine the roles they play in everyday life, says Mitchell, “the film is about breaking down social barriers and finding common ground to share an honest meeting with one another”.
Filmed on one day, in a local garage, director Lawton and her team of eight opted for a somewhat unorthodox shooting approach with We Keep On Dancing. Deciding to capture their image on 35mm, the production was made even more challenging when the crew choose just one 18mm lens to employ throughout filming. “Opting to shoot on one prime lens was a somewhat unusual move”, admits Lawton, “but perfectly served both logistical and creative aspects for us. Firstly, it meant less camera changes, so we could shoot faster and with a skeleton crew, but it also brought a really powerful and unique element to our storytelling. When shooting wide it allowed our actors the space of the whole floor to move around uninhibited by usual camera restrictions. There was an almost stage like feeling on the day. On the flip side of this, when we moved in for close ups we had to physically move so close that you could practically see breath on the lens. This brings an incredible feeling of intimacy with the characters in the viewing experience”.
Now working together under the pseudonym Jerry Projects, Lawton and Mitchell are currently developing a variety of projects, including their first feature Paradise Palms, the story of a gravedigger on the edge of an even greater chasm.