A Theatre Company prepares for season previews under a manipulative Director, whose fanatical tactics blur the line between illusion and reality.

K.M. Murphy’s ‘Staging Anna’ is a captivating exploration of the fine line between illusion and reality within the high-pressure world of theater. The film follows a theater company preparing for season previews under the domineering influence of a fanatical director. As the story unfolds, the director’s manipulative methods create an unsettling atmosphere, forcing the cast to navigate the murky waters between their on-stage personas and their real lives. It’s a gripping portrayal of the psychological toll and ethical dilemmas that can arise in the pursuit of artistic perfection.

With exceptional character development and standout performances, ‘Staging Anna’ skillfully captures the interplay between theatrical and cinematic storytelling. The cast’s nuanced portrayal of the duality between stage acting and real emotions lends authenticity to the narrative, drawing the audience into the tension-filled world of the production. Murphy’s film is both thought-provoking and emotionally resonant, offering a compelling look at the sacrifices and complexities of creative collaboration. It’s a must-watch for anyone intrigued by the behind-the-scenes drama of the performing arts.

How did you approach crafting a story that plays with the boundaries of theatre so effectively?

I grew up in the theater, so I understood the dynamics and plight of those specific character archetypes. I let the characters build the action, following what I thought they would do next instead of forcing them into contrived situations.

The dynamic between the manipulative director and the actors is central to the story. How did you develop these characters and their complex relationships?

It all starts with the Director, imagining what he would do in real life, who he would cast, and how he would structure his rehearsals, etc. I created tension for the characters by always keeping them guessing like he would. The uncertainty allowed for vulnerability which cut through the facade people usually put on at work. He pulls the truth out of them situationally, so those relationships begin to build organically through the fact that they are always forced to be honest when confronting the Director.

Staging Anna masterfully portrays the nuances between stage acting and on-camera performance. How did you guide the cast to achieve this balance?

It was an amazing experience to work with such great actors, who made my job as a director easy. There was a clear line in my script between stage performances and film dialogue that was established and the actors were able to jump back and forth effortlessly, and as a writer, it was a pleasure to witness.

The director’s fanatical tactics are both fascinating and unsettling. What inspired this character, and what message do you hope viewers take away from his methods?

I was inspired by a lot of things. People I have worked with. Horror stories I’ve heard. My imagination (unsettling haha). Other characters I’ve seen before. I wanted to make a character who would scare me, most characters like this are usually loud and angry, and the idea of a quiet and calm manipulator scares me more than someone who yells. I think the thing I want people to take away the most is that deception and manipulation are not always obvious, especially in the arts, people spend a lifetime figuring out how to get what they want and the ones who do it quietly are often the most dangerous.

Can you discuss how the film’s visual and production design reflect the themes?

I worked with my cinematographer Michael Mastroserio to build a light experience that honored the stage but also was designed for a film full of symbolism. Pockets of color created zones for the characters the behave differently in. Moving between acts and scenes with different light set-ups creates a feeling of location travel although we stay in the same room.

Trying to find variety in what is essentially a chamber piece is a big task, our production designer Suzanne Agbayani helped in set dressing an authentic space that was full of symbolic images, and our wardrobe designer Rachel Richardson gave each character a “piece” to help define them. Our Producer, Lea Marie Heller had a macro viewpoint on everything too, always asking us ‘Why?’ to positively challenge a creative choice, and when you have to answer such a simple question it helps you refine your decision-making. It was a collaborative effort for sure, the supporting themes started to arise subtly through the teams’ artistic questions and choices.

The film features gripping and impactful moments. Were there any specific scenes that were particularly challenging or rewarding to create?

I think for me, the Director’s monologue scene in the hallway was my highlight moment. I spent a lot of time writing that monologue, and watching Paul Caleron, who is truly a master actor, deliver it perfectly while our crew performed miracles getting the shot was awe-inspiring. Our Producer/Sound Op David Shaw walked with Paul down a small catwalk while Michael our DP shot a oner on a 270mm zoom lens as Arron Zimmerman our AC pulled razor-thin focus—there was no margin for error and we didn’t have a backup plan—we did it seven times and I don’t think Paul dropped a single line once. It was an ambitious choice by me to shoot like that, but the collective skill of the cast & crew saved a disaster. It was a pleasure editing that scene.

Theatre is a collaborative medium, but the film highlights the darker aspects of creative collaboration. What do you hope the film says about power dynamics in the arts?

I hope it helps people in similar situations to lighten up and not get caught in compounding bad decisions trying to prove something to a director or producer. At the end of the day, it’s art, which is important, but not more than your piece of mind and mental health. If you aren’t working with a team that uplifts and supports creativity, then most likely it’s a toxic environment and you should leave or change the dynamic.

The characters each bring a unique presence to the narrative. How did you work with the actors to ensure their performances captured this depth and individuality?

I think our casting directors just nailed the character breakdowns I made, they delivered a beautiful cast that made each character distinct and unique by their own personality and fit. I spoke with each actor about that character before the shoot and then let them do what they do, if I gave any notes on set it was small camera notes or intended script delivery stuff, nothing more, I just sat and let them make the people real for me and they were all on point. It was a truly talented ensemble. Casting is so important.

What are the books, podcasts or even YouTube channels that you recommend young filmmakers to get their hands on?

I like the Team Deakins Podcast, helps you understand each department on a film set.

Can you share with us some of your favorite short films you’ve seen lately?

I watched a short film called ‘The Masterpiece’ directed by Àlex Lora and it was so well made and deserves all the accolades it is getting. It won Sundance. So simple and so good.

Also another Sundance film, ‘Pisko The Crab Child Is In Love’ directed by Makoto Nagahisa is proof that a great concept and directing style is worth so much. It’s such a fun film that doesn’t need a ton of money behind it to entertain you.