Filmmaking is often described as capturing lightning in a bottle, a process punctuated by days that blur together in a whirlwind of creativity and exhaustion. For many involved in bringing a film to life, pinpointing a single “most memorable day” feels like an impossible task, a sentiment echoed by the team behind the upcoming film, Dead Lover. Yet, within the fragmented memories of long shoots and sleepless nights, certain moments shine brightly, encapsulating the collaborative and often serendipitous nature of cinema. One such moment, imbued with a spontaneous “dance with me” spirit, became a key memory for the film.
Grace Glowicki smiles in a scene from 'Dead Lover,' a dance with me film highlighted at Sundance Film Festival.
The beauty of filmmaking often lies in these unexpected pockets of inspiration. For the Dead Lover crew, one such instance occurred seemingly in the middle of their production schedule. Paradoxically, it was during a rare moment when the director, also an actor in the film, found herself not in front of the camera but observing from the sidelines. This unique vantage point offered a precious opportunity to witness the artistry of her collaborators in action. Adding to the unusual approach, the film was shot without on-set monitors, fostering an environment of trust and immediacy, even when the director was performing within a scene.
The moment unfolded around the need for “filler footage”—a common practice in filmmaking to bridge scenes and add visual texture. The specific shot in question involved actor Ben Petrie in a lavender nightgown, twirling in slow motion. This seemingly simple shot was deemed crucial by costume designer Courtney Mitchell, whose keen intuition signaled the narrative importance of capturing more of the lavender nightgown. It was a last-minute decision, highlighting the fluid and responsive nature of film production.
As the crew prepared for the shot, a palpable hush fell over the set. Director of Photography (DP) Rhayne Vermette readied her camera—perhaps her Bolex or SR3, the memory is slightly hazy as both were used during filming to achieve a mixed-footage aesthetic. Ben Petrie stood poised, nightgown flowing, ready to embody the movement. In the ensuing silence, Vermette broke the quiet with an impromptu invitation: “Dance with me, Ben.” Immediately following her words, the distinct whir of film rolling through the camera filled the space.
What transpired next was described as a “beautiful meta scene.” From her position outside the frame, the director watched Vermette and Petrie engage in a silent dialogue. Petrie twirled and swished, embodying the envisioned movement, while Vermette, with her camera, moved in response, capturing his performance on film. Courtney Mitchell, the costume designer, observed with a sense of relief, knowing the crucial nightgown was getting its cinematic moment to shine. This spontaneous collaboration, sparked by Vermette’s simple yet evocative “dance with me,” transformed a technical shot into a moment of genuine artistic expression. It was a moment where the film seemed to breathe, a testament to the talent and unique perspectives of the “smart weirdos” working together to create Dead Lover.
The director concluded by expressing the inadequacy of words to fully capture the essence of this memory, suggesting that perhaps, it’s a moment best experienced visually. This anecdote serves as a powerful reminder of the often-unseen magic that occurs behind the scenes, where a simple phrase like “dance with me” can unexpectedly unlock a film’s heart.
(See all responses to our annual Sundance Question here.)
