William R.A. Rush

As a filmmaker, how would you describe your cinematographic tastes and visual style? Are there any specific directors or films that have influenced your approach to cinematography? 

I strive for realism, intimacy while making sure the audience has a full understanding of the space and the world of the film. A few of the directors that have really shaped my visual approach are Michael Haneke, Jean-Luc Godard, Agnes Varda, the Coen Brothers, Luis Bunuel, Yorgos Lanthimos and others. A realism, occasionally raw, that removes the distraction of too much polish.  

 

Could you share some highlights from your previous festival experiences? Which festivals have you participated in, and how have those experiences shaped your career? 

I have only atended one festival, but the highlight was seeing the audience reaction to “Group” in a theater. It was a sublime and surreal moment. 

 

Film festivals often provide opportunities for networking and collaboration. Have you formed any valuable connections with fellow filmmakers, producers, or industry professionals during these events? 

I have met a couple of wonderful filmmakers, but since we are just starting the festival circuit I haven’t had the chance to meet too many people. But I hope to have the opportunity to meet and discuss film with passionate people if I am lucky enough to have our film selected. 

 

What techniques do you employ to craft compelling narratives that resonate with audiences? 

I write very carefully and considerately. I work hard to make sure dialogue sounds natural and normal and that the scenes I am writing have a visual language before filming ever begins. I try to create characters that are relatable to the audience, for good or evil, and a story that leads to a strong performance without appearing performative. 

 

Film festivals can be competitive. How do you stay true to your artistic vision while also considering the preferences of festival selection committees and audiences? 

The artistic vision comes first always. The story is the story. I won’t alter it to please an audience. I trust the audience to understand the story, and I will never insult their intelligence. If they like it, that’s wonderful. If they hate it, that’s fine. As long as I made the film honestly and in a non-manipulative way, that’s ok. Art is personal and expressive. As much as I want to be selected at prestigious festivals such as Enjoy, I have to be true to the art.  

 

Sound design and music play crucial roles in enhancing the cinematic experience. How do you approach incorporating soundscapes and music into your films to evoke emotions and enhance storytelling? 

I have a wonderful composer, Gary Mutch, out of Liverpool, England. I tell him the mood of the scene and give him the script and let him work. He never lets me down. Absolutely incredible musician and I trust his compositions as a wonderful companion to what we see on the screen. 

 

Could you tell us more about the inspiration behind this project and what you hope viewers will take away from it? 

Without getting into the subtle political points (because I want the audience to find things for themselves), the biggest motivation for the themes of “Group” is how much individuals in society and the social media presences of those people have blended and blurred. I think they blurred to the point that even where people need to be honest in order to improve their lives, they still want to present a different, “edited” version of themselves to others. They want to be someone they’re not even when they want to be themselves. People create an idealized self on social media, and more and more they act as that idealized version in reality.  

 

I hope the viewers are compelled to think and debate about the film, about how many people they have encountered who are similar to one or more characters, and I hope the ending really sticks with people. 

 

Film festivals often showcase films from diverse cultures and backgrounds. How important is it for you to represent cultural authenticity and inclusivity in your work? 

EXTREMELY important. I strive for diversity. Every LGBTQIA+ character in the film is played by an LGBTQIA+ actor. Many cultures are represented, women are represented, and they are represented authentically. Inclusivity is vital. I do not project my culture and experience onto other people with different experience and cultural identity. I meet with people and ask about that experience and work with the actors to make sure they are appropriately represented. 

 

The film festival circuit can be a rollercoaster of emotions. How do you handle both the highs and the lows that come with presenting your film to different audiences? 

Great question! Truthfully, I sit in a state of agitation and near panic the entire time. It’s terrifying and thrilling and I wouldn’t trade it for anything. The only real low is when a festival does not select your film. Rejection hurts, of course, but it also motivates and teaches. 

 

The editing process is a critical aspect of filmmaking. How do you approach editing your films to create a cohesive and engaging final product? 

I have a wonderful editor, Miranda Jean Larson, who does the rough cut. It’s important to take a break from the project and let a second person with a second perspective view the script and my notes and then present a rough cut.  

 

Once I have the rough cut, I make sure it flows, the artistry is present, the pacing works, the story shines through, and anything extraneous is cut if posible. 

 

Collaborating with actors is an essential part of bringing your characters to life. What methods do you use to establish strong relationships with your cast and get the performances you envision? 

Trust is key. Once I cast an actor, the character I have written becomes the actor’s character. It’s not mine anymore because the actor brings the character to life. I love the actors in Group. I have worked with almost all of them more than once. I love and respect the craft of acting. I use a positive and encouraging approach at all times, and I respect their input. 

 

The actors are more than performers. They are collaborators, colleagues and friends. The performances of the actors in Group also show how incredibly talented they are. 

 

Do you have a favorite genre to work with, and how do you adapt your filmmaking approach to suit each genre's unique demands? 

Horror is my favorite by far. As far as adapting to other forms, I focus first on the story and then on the performances. If you can do those things, you can make any kind of film. 

 

With the rise of online streaming platforms, film distribution has evolved significantly. How do you navigate the changing landscape of film distribution to reach wider audiences? 

I don’t really know. I listen to advice from people who know better than I. I am still learning, and I am open to anyone who wants to show this film to a large audience. 

 

Film festivals often feature panel discussions and workshops. Have you ever participated in these events, and if so, what topics do you enjoy discussing with fellow filmmakers and enthusiasts? 

I have not had the opportunity yet, but would absolutely love the chance to do so. Discussing film with other filmmakers and film lovers is a delight. 

 

As a filmmaker, what are your long-term goals for your career, and what kind of impact do you hope to make in the film industry? 

I want filmmaking to be my one and only job (aside from being a father to three incredible daughters). As far as impact, I want to make honest and interesting films that possibly provoke thought and discussion.