Photography by Paul Smith
Hi Castille! We heard about your new film, Albion: The Enchanted Stallion. It’s a mythical story with heart. Tell us about the film.
It’s a fantasy film about a young girl, who is kind of an outcast, that is transported to a magical world where she learns about her family and cultivates her inner strength and confidence to fight to save an entire race of people. It’s a fun ride (pun intended) that can be shared among the entire family. It has a throwback feel that inspires nostalgia for such films as Princess Bride and Labyrinth.
You’re also an actress, starring in several productions. Is it a challenge not to want to jump behind a camera while you’re acting?
HAH! Yes. While I’m focusing my attention on writing and directing, I have been acting quite a bit in little roles and every time I go on someone else’s set. I’m always trying to figure out what the director is doing, how he or she is connecting with people, the kind of infrastructure that exists, and how it differs or relates to my process – what I can learn, etc.,. I think I used to mostly hang out with the actors when I was acting, whereas now I tend to connect as much, if not more, with the crew, since I have a greater appreciation for their hard work and dedication.
You’re a graduate of Harvard University, and currently a student at Oxford University in the Creative Writing Masters program, where you were the only screenwriter accepted. Did you join the program to expand your writing skills?
I’m very much an advocate of lifelong learning, in all fields, and writing is one of those things, where you have to just keep practicing and exposing yourself to the work of others to really hone your craft. It has always been my dream to attend Oxford, so I knew I wanted to apply to do my Master’s there, but it wasn’t until my final semester at Harvard that I took my first Creative Writing class and thought “wait, this might make sense— I’m a writer. I should apply to study WRITING at Oxford”. And somehow I hoodwinked them into letting me into the program.
What’s the first story you ever wrote?
Space Pony. No joke. I must’ve been in first or second grade. It’s actually funny to recall that, since it kind of came full circle in that my two films are about horses. It was about an intrepid equine explorer. I’m sure my mom has it still— I need to get her to dig it up for a good laugh. The first real screenplay I completed, I co-wrote with my ex, and it was about three boys, who commit a school shooting. We wrote it when we were teenagers, after Columbine, but before shootings became ubiquitous. I still love that script, but I don’t think the stance we took would be appreciated given the current cultural climate.
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Growing up, what stories inspired you?
I’ve always loved Shakespeare. My mom used to read to me from the Complete Works before bed instead of fairy tales. When I was a little kid, I loved classic films like Dirty Dancing and Grease, and anything with a horse: Black Beauty, Hercules, Mulan, and Wild Hearts Can’t Be Broken (no one has seen this film, which is a shame).
As a pre-teen, I became obsessed with independent/art house films— the more strange or esoteric, the better. I was always director-driven, so I fell in love with Julian Schnabel, Sofia Coppola and Pedro Almodovar.
Do you use any personal experiences to create your characters?
Always. Most of what I write comes from a very real, very personal place. The leads are always female, which is more than just a social choice for me: it’s practical. I love the quote by Heidegger, “The artist is the origin of the work . . . The work is the origin of the artist.”
Your stories are so compelling! What is the most important aspect of building a great character?
I’m a believer that a great character must start with a dichotomy: she must have strengths, but she must also have flaws. We are all deeply flawed and quirky, so that is where I start. Then I move to a character’s WANTS and NEEDS — what drives him or her through the story? Then, I devise an arc. So basically taking one of his or her flaws and figuring out how it’s going to be transformed into a strength by the end of the journey.
What is the biggest misconception about being a screenwriter, a director, and an actress?
That I’m always busy doing glamorous things.
A). I go through months where I sit at home behind a computer, hopefully writing or reading or doing something productive to push my career forward . . . but also wasting a lot of time taking Buzzfeed tests because I NEED TO KNOW how my choice of breakfast foods will affect my future.
B). I can count on one hand how many times I’ve done something that I’d describe as “glamorous” in terms of the industry. When I’m working, I get up before call — so 5 AM-ish — and work out for an hour or two, then work twelve hours where I try not to sit down— a body in motion stays in motion — then maybe go to dinner with the cast, if it’s not too late, and then go home and pass out by about 9:30 PM. I rarely party. I live in leggings and tank tops, and I can’t tell you the last time I’ve stayed up past 11:00 PM, unless I’ve been forced to because of a night shoot.
What has been your favorite experience in your career to date?
I think filming Albion: The Enchanted Stallion in Bulgaria was pretty much as good as it has been thus far, though I’ve really loved making both films I’ve directed. I also had an amazing time filming Sex Ed, because the cast was so fun to hang out with, and Among Ravens was a magical experience because we were all staying in cabins in a quaint, lakeside town in Idaho, and I was playing this hippie chick, so I felt really peaceful and happy.
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List the 5 things you need to have with you on a film set.
1). A kick ass cinematographer — you can fake pretty much anything else (including the quality of the image (i.e. what kind of camera you use isn’t necessarily that important), but you’ve got to have an artist operating the camera.
2). A kick ass producer — if it’s a feature, you have to have a producer, who has organized everything. For shorter projects, you might be able to get away with winging it, but otherwise, a great producer is clutch. Especially since the amount of time you spend on set is far outweighed by the amount of time you’ll spend in pre and post production.
3). Positive, collaborative energy — I think this is underrated and often forgotten. I don’t ever want to be on a set, where people are behaving badly. When you make a film with love, it comes across on screen— especially between the relationships between the actors, and the performances the actors are able to give.
4). Good food — gotta fuel the crew and actors.
5) Amazing actors — I’m sure this would be first on a lot of directors’ lists, but I can write believable dialogue or direct a passable performance.
Do you have any upcoming projects that we haven’t mentioned?
I have two scripts that I’ve written and am currently in development on with my producing team, so I’m working hard to get those made.
Complete this sentence, if I had an opportunity to change anything, I would change ___________.
The stigma surrounding mental illness and the lack of research into mental wellness and positive psychology. I’m also very passionate about women’s equality, particularly behind-the-scenes in filmmaking (i.e. female directors, writers, etc.)
Connect with Castille:
Twitter: https://twitter.com/castillelandon
Facebook: https://www.facebook.com/castillelandon
Instagram: https://www.instagram.com/castillelandon/
Vimeo: https://vimeo.com/castille
IMDB: http://www.imdb.com/name/nm2500541/
Web: https://www.facebook.com/AlbionMovie/
Featured image photography by Paul Smith:
Twitter: https://twitter.com/paulsmithphoto
Instagram: https://www.instagram.com/paulsmithphotography/
Facebook: https://www.facebook.com/paulsmithphotography/
Web: http://paulsmithphotography.com/
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