Earlier this week, writer/producer/director Mylissa Fitzsimmons launched an Indiegogo campaign to raise funds for her first feature film, Everything in the End. Fitzsimmons has had two short narrative films exhibited at Blue Whiskey Independent Film Festival; the coming of age drama That Party That One Night screened at BWiFF 2017 and the drama Who Decides played at BWiFF 2018.
Everything in the End will tell the story of Hugo, a lonely traveler coping with the recent loss of his mother, in the final days of Earth’s existence. Unable to return home, he finds himself stranded in a small village in Iceland. Who would you spend your final days with if you found out the world was ending and you couldn’t get home?
A big thank you goes out to Fitzsimmons for taking the time this week to answer a few questions we had about the new project and some of her previous works.
I’m drawn into stories that share an authenticity of real people, raw emotions, and flaws of humans.
–Mylissa Fitzsimmons
In terms of a ticking clock, it seems like you’ve set a major one within the story of “Everything in the End.” What made you want to write this story against an impending apocalyptic backdrop?
“I made a very conscious decision to make a micro-budget film. So I made sure to simplify everything from crew size to story. That also meant having a shortened shooting schedule. The ‘ticking time clock’ was more about giving me a quick in and out. I also didn’t want to do an ‘apocalyptic’ everywhere is mayhem type of film. Rather, I wanted to show a world in end days where the best of humanity comes out. People being there for each other.”
You’ve had two short films play our festival in previous years; “That Party That One Night” and “Who Decides.” While being entirely different films, they both utilize an intense silence between characters very effectively. Is this something you conceptualized in the writing process or did you make these choices later on?
“Very early on I knew I wanted to make more quiet films. For better or worse, depending on who is watching. I’m more of an emotional and visual storyteller than traditional plot driven. So for me, a lot more can be said emotionally in those quiet spaces. A look, or pacing of a character’s breath; non-verbal body language gives me a different type of engagement that I’m personally more drawn to. So that reflects in the work I do, no matter the genre.”
You started out your career as a photographer and documentary filmmaker, correct? What motivated you to get into narrative work as a writer, producer, and director?
“I think there was a point after having kids that I knew I needed and wanted to be home more. I had tried some more office type jobs but creatively I wasn’t satisfied so after kid #2, I wanted to go back to film but knew that doc films wouldn’t allow me the time with my family I wanted. So making the transition into narrative was the obvious next step for me. Short films allowed me to explore on my own terms to figure out how it would work for me. Now that my kids are older I’m ready to make the transition from shorts to features.”
You reference an appreciation for Wim Wenders and Kelly Reichardt’s work, and that this feature will be in part inspired by these filmmakers. Could you give some examples of how their filmmaking/storytelling methods influence you?
“This goes back to being engaged by films that have an emotional impact on me. Also coming from doc films where one works in the reality. I’m drawn into stories that share an authenticity of real people, raw emotions, and flaws of humans. So I see that in the works of those filmmakers along with a few other I admire, Ken Loach, Joanna Hogg, Andrea Arnold.”
I understand you can’t get into the specifics of why this film will take place in Iceland, but could you tell us about one of the experiences you had there that helped “plant the seed?”
“I love Iceland. I’ve spent a lot of time going there for various reasons and I knew that from my first trip there I was either going to be moving there or making a film there. I couldn’t convince my family to move there so lucky I get to make a film there. The whole idea for they film came from being there as part of a Film Talent Lab. The whole time I was there I just kept thinking. What story can I tell here and why? Honestly, the what came from a friend (who will be in the film) but the why is easily answered because the people. I’ve met some truly kind, giving people there so that the idea is if you found out the world was ending and you were stranded and couldn’t get home who would you spend your final days with. Iceland and the people there with all their kindness seemed like the best place to be. As well as being surrounded by all that beauty.”
Throughout our lives, we are (hopefully) inspired by a wide variety of art. At the present moment, what work out there is speaking to you or at least on the mind and why?
“I recently saw the works of photographer Roy DeCarava and it just hit me in a way I hadn’t expected. His work captured such sorrow but glimpses of hope at such a critical time in history. I’m also a fan of the Criterion Channel service. So most of my nights are just picking a random film and discovering some film or filmmaker I’ve never heard of from some other country. It’s amazing and inspiring. Also music is a big deal for me when writing and on repeat these days is Tom Waits: Early Years Volume 1 and the new WildFitz album because I like to keep it in the family.”
Get Involved in the Campaign
The campaign objective for Everything in the End is $20,000 and has achieved 20% of the overall goal in just the first few days. An excellent start, yes, but the project could still use your help over the next 26 days. Contribution perks range from $25 with a Thank You on the film’s website to $5,000 to become an Associate Producer.
To learn more about Mylissa Fitzsimmons and her work, visit mylissafitzsimmons.com. To contribute to the campaign, visit igg.me/at/everythingendsfilm.
