Director’s Statement and Q&A with Justin Simms
Down to the Dirt is a universal story about what is perhaps the most vital realization we will all (hopefully) make at some point in our lives: that we alone are responsible for our own happiness. We cannot depend on others, be it a lover, or a father, to give our lives definition. Only when we are at peace with ourselves, can we truly be at peace with others. This truth, though seemingly evident, is often hard to acknowledge, especially if life has not gone the way we intended. This truth is the “dirt” of the title. The very future of the tortured, sensitive, and ultimately ironic Keith Kavanagh depends on his ability to make this realization. Down to the Dirt charts his journey from the clean simple, reliable tenets of self-destruction and delusion, to the dirty, ragged reality of his only chance at redemption. Many of us will take a similar journey of the spirit. The great Newfoundland poet Al Pittman best summed up this sentiment when he once wrote:
“Going toward yourself is the longest journey of all.”
Q: What are the key differences between the book and the film?
Perhaps the most important difference is the age of our main character, Keith Kavanagh. In the book he goes from 19 to 23. This had a huge benefit, thematically. Our film is about Keith coming to make a decision about how he’s going to lead the rest of his life. Personally, to me, a nineteen or twenty year old making that decision does not carry the weight, or the power – the sheer believability – of a thirty-year-old making the same decision. It also raised the stakes of Keith’s actions. When he starts the fire in the town, for example, it’s one thing for a 19 year-old to do it, as in the book, if the guy is thirty, however, it’s a much bigger deal. More dramatic. Bigger consequences. This was one of the most important changes we made in writing the screenplay, without question. The guy at the end of the movie is not the guy at the end of the book. We all really liked this idea.
As well, our film focuses more on the love story between Keith and Natasha. This has an effect on the overall tone, obviously. Keith’s actions and state of mind in the film are based largely on Natasha’s presence, or absence. In the structure of a film, this streamlines his journey, makes it more accessible. And, perhaps most importantly, I am a sucker for a good love story. (And always have been.)
Q: How would you describe the film, visually?
Visually we are stripped down, as in: our film is about people first and foremost, so Jordan [Director of Photography Jordan Lynn] and I wanted to make a film where the faces are what tell the story. Their emotions, their physicality, are what provide most of our visual canvas. We studied films like Babel, and Half Nelson, as we felt these films illustrated the power this kind of approach can result in. As Dirt has three primary geographies (the small town Cove, downtown St. John’s, and Halifax,) it was a good challenge to give each place their own look, their own feel, relating it to Keith’s state of mind at whatever place he’s in. We were careful to pick and choose the moments where we’d use “technique,” to get our point across. Though we enjoyed these moments as well, don’t get me wrong. We tried to build a healthy relationship, visually, between telling the audience what to see, and letting them see what they choose to see.
Q: How did you decide on the use of music on the film?
I have been a fan of Mark Bragg’s for years. I think he is Newfoundland’s best-kept musical secret. His sound – Tom Waits meets Radiohead, has always appealed to me. I felt Down to the Dirt, in terms of its musical palette, ought to be rock-based, and though Mark had never scored a film before, I thought his unique sound, and the kinds of things he writes about on his records, thematically, had a lot in common with Down to the Dirt.
As Mark and I worked on the score – in addition to the traditional underscore moments - Mark began writing songs, like “The Fighter,” then “Fire Sign,” and soon I really liked the idea of Mark’s voice being another character in the film. I think he did an amazing job.