Q&A: ‘Cover’ Producer and 1st AD, Marcel Simoneau
An interview with Marcel on how to juggle responsibilities, what “Canadian” is, and why short films matter.
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We did a Q&A with the industrious Marcel Simoneau, producer and 1st AD of Cover. Marcel is a filmmaker, producer, and actor, based in Brooklyn, NY. His latest short film, Lurker, was recently accepted to Cannes 2017’s Short Film Corner, HollyShorts, and NY Short Fest. As an actor, Marcel has starred in both film and TV productions, such as Gotham, Unbreakable Kimmy Schmidt, The Rebound, and many more. He also teaches at Strasberg and owns a grilled-cheese whiskey bar and a new Canadian bar in Bushwick.
You’re an actor, filmmaker, producer, musician, teacher, business owner. Any time-management tips?
That’s a tough one…iCalendar, lists, Post-it notes, and writing on my hand.
This was your first time as 1st AD. How did you prepare for this position and what was the best and worst part about it?
I just went back and looked at all the 1st AD’s I had worked with as an actor and director and remembered what worked, what didn’t, and what made them good at their job. I enjoyed it. The best part is when things fall into place and you get a rhythm going with the cast and crew, and you help the director attain/complete their vision. The worst would be being the bad cop, having to be the person reminding everyone how much time is left. It’s a tough position as you want to make sure the director gets what she wants, but also make sure she gets what she needs to tell the story her way. The balance of art and time…
You recently acted, directed, and produced the short film, Lurker. How did you handle wearing so many hats on set?
I surrounded myself with other directors I could lean on. Our DP, producer, 1st AD and production manager were all directors themselves. That helped relieve some of the pressure. Also preplanning a bit extra, knowing I’d be in Hair and Make-Up and not be able to make certain decisions on the spot.
How has directing informed your approach to acting or life as an actor?
So much! Really helps to not take things personally as an actor, to know a director sometimes isn’t exactly sure what they want, they might want a variation on a take just to have for editing, or because you’re out of focus and it has nothing to do with your acting. Made me realize how a director has so many things to worry about other than my acting.
In a Daily Fandom interview, director J.Y. Chun says you encouraged her to play the role of Nana. How did you make this suggestion?
To me there was never anyone else that could play that part. She’s extremely talented and has an honesty and depth about her that I could only see her do the part. Not to mention the 3 languages the character needed to speak!
What drew you to Cover?
The script and the director. I was lucky enough to witness the development of the script — it really kept me engaged from the get-go. The original hair idea and our different social masks really spoke to me. How we present ourselves and how we are perceived. The misinterpretations that happen, how the outside doesn’t always match the inside…It could really be a feature film. Also, JY’s professionalism, drive, and passion were really inspiring and I was able to learn from her. I was honored to be able to produce this with her.
Can you think of a favorite memory on set? In preproduction? Post-production?
On set, I’d have to say the first take on the first set-up. I was super pleased that all this hard work had fallen into place. Pre-production: running around to pick up all the gear the day before shooting. I had 7 to 8 pickups all over the city that needed to happen. The rush of that was pretty exciting. Post-Production: seeing how great the footage looked. JY had spent a lot of time on the shot compositions, designs, costumes — everything about the look/feel of the film. Nice to see it all start coming together.
How did you tackle simultaneously working as producer and 1st AD with a tight budget? Would you do it again?
Never say never. It was difficult to juggle those two roles. It’s challenging as you have to step away from set, and you can’t always be there for your director to help a set-up or a shot because you have to be in the basement begging the owner of the location to stay an extra 30 minutes to get the shots you need! The juggling of the next location’s logistics while managing crew in the current location. Juggling present and future…
Were there any happy accidents on set?
We got lucky with the weather, very lucky. But there was one little thing — I don’t know why this stuck with me — but we had a light that was flickering, and we kept it for a slow-motion stairwell shot. It really added to the scene. Wasn’t planned but really worked. It’s a detail, love little things like that.
Cover is about perception. Have you ever been misperceived or misjudged? If so, how and why?
Yes, definitely, I think we all do to a certain extent. I remember in high school not liking this guy for no real reason, just didn’t like his attitude, the way he walked and presented himself. He had a certain cockiness to him. I then ended up working with him, got to know him, and we became best friends. I think what I didn’t like in him was something I didn’t like in myself…Once I knew him, my perception of him totally changed, his cockiness didn’t seem cocky…
The trailer is mysterious. What is Cover about, to you? Can you share with us anything we don’t see in the trailer?
I don’t want to give anything away, but to me it’s about how we perceive and present ourselves to others, and how we can misjudge or see someone and really see ourselves through or with the unspoken help of someone else. As far as what’s not in the trailer…There are just so many layers to the film that I would rather not taint the viewers’ experience to make them pay attention to certain things. At a wine tasting, when the presenter tells you all you should taste, I feel we just look for that and not our own personal experience…Make sense?
In a Film Courage interview, Chun shares that the film deals with the feeling of déjà vu experienced when you run into someone familiar but aren’t sure you know them. Have you ever had a similar experience? Or someone you knew didn’t recognize you?
I can’t really remember an interesting time where that happened. As far as someone not recognizing me, it happens all the time. Very useful when you’re in a rush, not so useful for casting directors :)
You were a band member of Hot Seconds. How important is music to your life?
VERY important. I constantly listen to music. Playing is more of a hobby for me, but something that has always been present in my life. I just can’t imagine life without it.
Your next bar is Canadian-themed, called UpNorth. What is quintessentially “Canadian”?
Maple syrup, maple cookies, poutine, hockey, free healthcare, cold and lots of space.
Short films can be construed as unnoticed underdogs. Why are short films important?
I feel they don’t get as much respect as they deserve. They’re like short stories — it’s hard to grab/move/entertain someone in such a short amount of time. You have to trim out all the fat and be specific. They are a great training ground. A great way to get your work out there and learn, meet likeminded collaborators and also test certain ideas you couldn’t necessarily on a feature film.
Could you name a must-see film?
12 Angry Men.
Must-try NY experience?
Having lived here for a bit, I unfortunately take it for granted…The Giglio Feast in Brooklyn.
Must-have mindset as a creative person?
Perseverance and faith.
What’s next for you?
Playing the lead in Outlines in the Dark by James Arrabito in El Paso, Texas at the end of the year.
Cover is raising funds on Kickstarter in order to complete post-production. The campaign ends in 13 days, on November 23rd, 2017, at 11:00am EST: http://kck.st/2y3FvaI. Read all interviews and blogs here: https://www.covershortfilm.com/blog/
