TIFF 2016 Profile: Molly McGlynn
“I wanted to show something that was rooted in character rather than sex, but was in the realm of a sex-comedy.”
Film: 3-Way (Not Calling)
We saw Molly McGlynn’s 3-Way (Not Calling) this year at TIFF and fell in love with level of (hyper)realism and comedy the writer/director brought to the story. McGlynn, who has been #miniMUFF profiled before, along with Marni Van Dyk, for their short film I Am Not A Weird Person, was glad to talk with us again about her latest project after the bustle of TIFF had died down.
3-Way (Not Calling) plays on all of our insecurities in such an incredibly charming way that totally wins over your heart. Although the awkwardness of this situation is very specific, it’s still relatable — we’ve all been to a party where someone doesn’t pick up on the hints to leave…or worse, been that person.
Hopefully in the near future we can all see 3-Way (Not Calling) at one of our screenings!
TELL US A BIT ABOUT 3-WAY (NOT CALLING).
Molly McGlynn: It’s about a woman (Mel) who goes through this existential dread as she’s about to turn thirty. She takes it out on her sex life and she convinces her partner (Kevin) to have a threesome. That does not go as planned and comedy ensues. In the end, kinda everything changes with the couple, and nothing at the same time.
It was important to show that the relationship was intact. It was less about sex and her partner than it was about her identity and aging and death and all that. About her mortality… It’s a threesome comedy about death.
WHAT WAS YOUR REACTION TO 3-WAY (NOT CALLING) BEING SELECTED FOR THE TIFF SHORT CUTS PROGRAMME THIS YEAR?
MM: I was really surprised…really, really surprised. We shot it in the last weekend of May, and the deadline was some time in June. And I begged them, “Please let me send you a rough cut of something.” I knew it was a shot in the dark but I needed to try.
THE ACTION IN THE FILM IS VERY MUCH DRIVEN BY THE FEMALE CHARACTERS. WHY DID YOU MAKE THAT CONSCIOUS CHOICE WHEN WRITING?
MM: While it’s definitely coming from the female perspective, I also wanted to show through Kevin that men can have their insecurities. They are often shown wanting to do this (threesome, or three-way, if you prefer), but it’s a lot to handle if they already feel insecure. I was tired of seeing things where the guy was convincing his partner to do sexual things and I wanted it to come from a woman. It’s completely valid that it would.
THERE’S A LOT OF TECHNOLOGY (CRAIGSLIST, TINDER) THAT PLAYS A PART IN THE FILM. SOME WRITERS AVOID TECHNOLOGY BECAUSE IT MIGHT DATE THE NARRATIVE. WHAT IS YOUR TAKE ON TECHNOLOGY IN A STORY?
MM: I think it depends on the film — some films want to escape the reality of our daily lives. For this I didn’t want to do that because, specifically, with love and technology in relationships, it’s all so interconnected now. You have to show it. Realistically if someone were to have a threesome, it’s gonna happen over the internet. For me, it was just an extension of the realism I was trying to capture.
THE THEME OF EXPECTATION (IN LIFE, RELATIONSHIPS, AND SEX) PLAYED A LOT IN THE FILM. WAS THAT SOMETHING YOU THOUGHT ABOUT DURING THE WRITING AND FILMING PROCESS?
MM: I think some people feel that a relationship will give you a fulfillment of life’s meaning. I does to a certain degree, but not really. I’ve always been a firm believer that when you put your head on the pillow at night, it’s you and you alone. Like, are you happy with yourself? Your partner can’t fix that.
To counterpoint that, the single character (Gina) is lonely and is craving that comfort. I think that character is kinda presuming that a relationship will fill some sorta need in her.
WHERE DID THE STORY COME FROM?
MM: It’s not based on reality…which is funny because a lot of my previous work stems from a real place. A lot of people have asked me if it is. No, I was listening to the podcast Guys We Fucked — that’s a great, funny, anti slut-shaming podcast — and they were talking about threesomes and that got my attention. I wanted to show something that was rooted in character rather than sex, but was in the realm of a sex-comedy.
And I feel that it’s part of the zeitgeist right now. I don’t know why but several people I’ve met after a screening of the short said that this is the year of threesomes. I also think that the conversation about relationships and sex is changing. So I’m just reflecting that reality.
THE RELATIONSHIP BETWEEN MEL AND KEVIN FELT SO REAL — THE ACTORS HAD A LOT OF COMEDIC CHEMISTRY. WAS THERE ANY IMPROV ON SET?
MM: The final film stayed pretty close to the script, but the two of them are extremely strong comedic performers and did some great improv. As a director it’s really hard to know when to cut because we had such little time and money. They stayed pretty close to the script but would infuse it with their own, kinda, moments. It helped them understand their dynamics as a couple — it’s a form of rehearsal, in a way.
I believe, firmly as a director, if it doesn’t sound real or believable coming out of the actor’s mouth…like I’m just not precious about the words on the paper because they mean nothing ’til you’re on a set. I don’t care; if someone hates a line, throw it out.
YOU’VE ACTUALLY BEEN #miniMUFF PROFILED BEFORE. SINCE THEN, HAS YOUR APPROACH TO FILMMAKING CHANGED?
MM: Oh, yeah. For so long I did not have the confidence to be a filmmaker, but my approach has changed a lot in terms of organization of what to expect, and also my own competence. Particularly the ability to say “no” and stand my own ground. I just have a clearer idea of what my vision is and what I’m trying to say about the world through filmmaking.
YOU’RE CURRENTLY WORKING ON YOUR FIRST FEATURE LENGTH MOVIE (MARY GOES ROUND) RIGHT NOW. HOW DOES THAT FEEL?
MM: Good. Scary. I’ve never done a feature and it’s very terrifying. Part of me is like “I’m not ready,” but on I Am Not A Weird Person I didn’t feel ready either when Marni handed me the five pages of script. I wasn’t ready then and I’m not gonna feel ready in November (when we start shooting). But you have to do it, and I have built up this experience and am ready to do it.
You read things that it’s harder for women directors because if you don’t break out right away…you don’t get as much grace period or chances. So a part of me is feeling this pressure to be perfect all the time, which is such a female way of thinking — that it’s perfection driven. If I just trust that I’m gonna make a good film, I think it’ll do what I want it to. And it’s not gonna be the only thing I make — in five to twenty years from now, I’m just gonna keep getting better.
WHAT IS YOUR FAVOURITE NONSENSE TCHOTCHKE THAT YOU OWN?
MM: I collect turtle figurines. Whenever I travel I’ll get a wooden or stone turtle figurine…That’s probably the weirdest thing about me.
RECOMMEND ONE #MUFFAPPROVED FILM, POSSIBLY FROM THIS YEAR’S TIFF, FOR OUR BLOG READERS:
MM: Strange Weather (2016, dir. Katherine Dieckmann) really stood out to me. It’s got a slow burn that, a few days later, it stayed with me.
Follow Molly on Twitter and Instagram and keep up with her work here.
You can also follow 3-Way (Not Calling)’s Facebook page for up-to-date info on the film.
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