We as human beings can be competitive creatures, and sometimes obsessively so. Ian Ebright is not afraid to confront those darker truths. A Seattle-based filmmaker, Ebright explores these ideas and themes in his first feature as writer-director, The Way We Speak, which Cinemacy called “a rich character study… with a script that Aaron Sorkin would likely tip his hat to.” (Watch the trailer here)
Related: ‘The Way We Speak’ Review: A Cautionary Tale of Obsession
In our exclusive interview, Ian Ebright discusses his screenwriting process, the challenges and triumphs faced as an indie filmmaker, and what he hopes audiences take away from the film. “I miss films that were memorable for their stories and characters; that helped me understand myself and the world around me a bit more. So for people who share a similar interest, I think The Way We Speak and my other films will be worth their time,” Ebright says.
It’s a pleasure to meet you, Ian! I’d love to learn about the origin of your new film, The Way We Speak. When did you first conceive this story?
Good to meet you too, Ryan! The Way We Speak came about as I was marinating in two documentaries I love, Best of Enemies and Life Itself, while doing what writers do, which is notice the world around us. At the time, it was the #MeToo and Black Lives Matter movements.
What was your writing process for this film like? Do you have a routine or specific method that you do?
My process is pretty methodical because, without structure, I have a hard time knowing where I am in terms of getting the story right and completed. I usually write per act and then revise per act until the three acts congeal more or less—not that it’s good yet, but cohesive enough to feel my way through it.
Then I’m going back through doing targeted or spot revisions to the whole based on things that are feeling off, like beefing up one character or augmenting my theme throughout. Finally, I get to the printed copy phase, where I’m off the screen and can hold something, mark it up, and fine-tune things. Along the way, I get feedback at intervals from trusted friends, family, and filmmakers.
What ideas, themes, and messages did you want to ensure came through in telling this story on screen?
There’s a lot in there, from the screenplay to conversations with the cast and the ways they helped improve what I wrote. The cast and crew and I poured our best into The Way We Speak, and I think it’s a film exploring some timely things, like the consequences of unchecked ego, obsessive competition, and tribalism.
It’s a story that’s wrestling with the difficulty and the importance of seeing ourselves and others more clearly, not just in terms of perceived advantages or disadvantages.
What was it like working with your lead actors, Patrick Fabian, Diana Coconubo, and Kailey Rhodes? What was the rehearsal process like, as well as shooting? Did you discover anything new about the story while working with them?
Working with Patrick, Diana, and Kailey was one of the highlights of making this film. We cast them because they were a perfect fit for their character, but it was getting to know them that made everything that much better. They turned out to be whip-smart, perceptive, funny, and just great people, which makes collaborating a joy.
I had Zoom meetings with each of them before we arrived on set—a great opportunity to hear from true performers about any things that weren’t quite there in terms of their characters. From those meetings, I revised the screenplay again, and that got us closer to the target once we were shooting.
Rehearsals were great; by then we all had a shorthand, so it was quick, pretty painless, and usually had more to do with physical limitations like blocking for a location. There were a couple of instances where things were askew for them on the day, and they’d let me know if something in the scene wasn’t working, which I’m so grateful for. I’d rather have the “pain” of fixing story beats in real time on set than the pain of living with an inferior finished film. And that was a wonderful reminder of how much better good actors make a story; they always understand their characters deeper than the writer.
What obstacles did you face throughout making the project? What was the hardest challenge to overcome, and what was your most unexpected breakthrough?
Locations were easily the biggest obstacle because it was the holidays, and for whatever other reasons, we had a hell of a time getting locations to commit. When we finally secured our schedule to shoot at Portland Community College, my stress level went down a few notches.
A large portion of the film was to be shot on location there because it had four of our recurring settings in and around their performing arts auditorium—a fifth location, and the centerpiece of the film where the “God or no God” debates happen.
Is there any scene in particular that you are most proud of, or think back on fondly?
For sure. Late in act two, there’s a backstage scene with essentially no dialogue between Patrick, Kailey, Ayanna Berkshire, and Lowell Deo, and it hums just right for me—subtle performances, story crescendo, cinematography, and music. When I watch it now, I feel what I was hoping the scene would accomplish: an ethereal tension and some of the drama between characters paying off.
It directly leads to one character’s outro, played by Ayanna. She and I worked together on improving the monologue for that scene over some long, honest, and vulnerable conversations. We were aware of the pitfalls, of how easily that scene could become something we didn’t want it to be, and I think we not only avoided those pitfalls, but we brought the dialogue to a really special place—and Ayanna’s performance in that scene is mesmerizing.
What takeaway do you hope audiences will have after watching your film?
I like films that challenge me and get under my skin a bit, even while there’s redemption, and I hope audiences have that experience with The Way We Speak. And I hope audiences feel they watched a compelling story that was well crafted.
Let’s get to know you both better. Where are you from, where do you reside?
I’m a born-and-raised Seattleite. Still here!
What are your favorite films, who are your filmmaking idols, and dream collaborators?
My filmmaking idol is Martin Scorsese and it would be a dream to collaborate with him. Martin, if you’re reading this, please executive produce my next feature. I’d say the same thing about Werner Herzog. My favorite documentary is probably Herzog’s Grizzly Man. Up there on that short list is Sideways, my favorite comedy; Die Hard, my favorite action film; and Moneyball, maybe my favorite all-around movie.
Another dream collaboration would be being a writer and director on a Vince Gilligan and Peter Gould series. It’s not because Patrick is the lead in The Way We Speak that I say Better Call Saul is one of the best television series of all time, way up there with greats like The Wire and Chernobyl.
What is one thing you’ve learned as a filmmaker that you think other filmmakers would benefit from knowing in starting their careers?
I think the fact that my first feature is arriving 10 years after my first short film came out might be an answer. Patience and perseverance are never fun at the moment, but I think they’re necessary—especially these days when everything is in transition and there’s so much collective despair and confusion about what to do next.
In some ways I don’t fully understand, that time is often needed to help our stories ripen and become their best. Although I’d like that to stop being so true.
What is the future of this film? Do you have any future creative projects?
The Way We Speak will be out on VOD in the U.S. and Canada on July 23 from Gravitas Ventures, which I’m excited about. And I’m finishing the screenplay for a feature I’m working to direct next, an unapologetic ghost story that’s still very much my approach to things, in that it’s topical and ultimately exploring human nature at its best and its worst.
What is one message that you would like to share with audiences about your work, your general outlook on life, that you are interested in further showcasing in your films?
That’s an interesting question. I guess I’d say that I make the kind of films that I want to watch; films that aren’t around as often as they used to be.
I aim to make films that are story-driven and geared toward thoughtful viewers. More classically structured. I’m tired of all the narrative stuff that has a hook or a concept and little else, and I miss films that were memorable for their stories and characters; that helped me understand myself and the world around me a bit more. So for people who share a similar interest, I think The Way We Speak and my other films will be worth their time.
For more, visit Facebook, Instagram, and Ian Ebright’s website.
