Faryl Amadeus was an actor and photographer before she added director and writer to her resume. Indeed, it was a recent director of photography job that inspired her to seek—and, more importantly, to claim—stories for herself. The end result of that creative epiphany is Mary Meet Grace: a short film, inspired by Amadeus’ own experience in reuniting with her birth mother, that explores the intense yearning of an adoptee to know more about her past.
Mary Meet Grace is one of hundreds of short films selected for this year’s slate of films at the Oscar-qualifying HollyShorts Film Festival (HSFF). What’s most remarkable about Amadeus’ short film is the endless layers of meaning imbued in such a short amount of screen time. Each screening breeds new discovery, from untangling the concept of “motherhood” and “fatherhood” to the kaleidoscopic definition of seeing. Mary Meet Grace simultaneously leaves with many thoughts and renders you speechless. It’s definitively the mark of a visionary-in-the-making.
In our (email) interview with Amadeus below, she talks about the artistic life, freedom of expression, and creative hunger. About her film, she breaks down the idea of sight/seeing, regales with a Lucinda Williams anecdote, touches on the myriad projects she has in store.
Mary Meet Grace will screen at HSFF on Friday, September 24, 2021 at 14:30 PDT during the Family Drama block.
Before we jump into Mary Meet Grace, I’d like to ask about your own filmmaking journey–what brought you to working in and creating movies? You’re an actor, writer, and director, so I’m curious to know which bug bit you first and how did everything else fall into place for you?
I’ve always been an actor and a photographer. Which is a lot of seeing.
In March of 2020, I started working on a fantastic low budget thriller as a DP. It was a unique situation and I was put in the position of often directing the acting. I LOVED every minute of that shoot and it occurred to me that I could write and direct my own films. I didn’t have to wait for anybody. Art and stories can be right now. And they can be MINE.
So before that shoot was wrapped I started dreaming up Mary Meet Grace. I imagined a mysterious man and an angry young woman. I imagined him saying “Wow, you look so much like her.” In every phase of making Mary Meet Grace I felt calmly confident and sickly driven. I can’t believe it took so long to discover that I’m a filmmaker, but here we are. And suddenly the whole world makes sense.
You’ve mentioned previously that Mary Meet Grace is inspired by personal events? Would you elaborate on your inspiration for the story? (Please tell me that “Jesus dick” is borrowed from your real-life vernacular because that was PREMIUM writing!)
Ha! JESUSDIIIIIICK is not something I classically say, but maybe I should change that.
Mary Meet Grace is inspired by that intense yearning an adoptee can feel for who they are and where they come from. My birth mother, who appears in the film, found me in 2005 and we later reunited with my bio dad in 2012. The emotional mystery of adoption could fuel countless stories. I LOVE being adopted. It’s strange and sad and wonderful. (For me).
There’s an interesting tension in your film between the ideas of motherhood, as being a haven and providing a sense of self or found-ness, and “fatherhood” (which I put in quotes because although Dom isn’t Grace’s father, his religious…motivations, let’s say?…are rooted in a patriarchal foundation), which seems to be a source of confusion, mistrust, and even danger. What was it about motherhood that initially interested you? I know that your birth mother plays a role in the film as well–what was it like to work with her on a project that essentially touches on the nuances of your relationship with each other?
“MOTHER” is a complicated… idea. I have a lot to say on the subject.
In Mary Meet Grace the birth mom represents to me an artistic life. Freedom of expression. Clarity, bravery, truth. And Dom represents the patriarchy. Rules, doubt, status quo. He is a dangerous trap, at first seeming kind and good, and at some point even fun. BUT WE CAN’T FALL FOR IT!
My birth mom was so generous with this project. She lent me photographs of herself, she flew during a pandemic to film. We have a very special connection. And it is different from being my mom, which I have. It is something special. “Birth mom”. Part friend/part self.
Sight is a pervading motif throughout the film. From the use of mirrors, windows, cameras, photographs, and a bottle-as-telescope, there’s a suggestion of seeing being a form of connection and, in turn, an avenue for (self) identification and understanding. I’m curious to know, considering how personal this story is to you, if the process of creating this film facilitated any new (self) identification or understanding for you, either as a person or artist?
Thank you for SEEING that! And YES YES YES. Yes, the process of making this movie has forever shifted my life. The autonomy of writing/directing feels like I was born anew. It’s ushered in a creative jetstream. I can’t stop. I feel inspired. Possessed. Since March of 2020 I’ve written eight films and two pilots. (I feel like it’s a dirty secret to talk about one’s own productivity. I apologize if it’s gross, but it’s the truth and (whispers) feels fantastic.
Here’s a fun fact re: Grace looking through the bottle- Our brilliant composer, Kevin J. Kelly created an incredible score all around, but when Grace is looking through the glass like a telescope, he took the sound of blowing through a bottle and modulated the pitches to make an eerie, wonderful score. I also wanted it to signify a certain uneasiness as Grace begins to feel the effects of being drugged. A+, Mr. Kelly.
Let’s talk about Lucinda Williams’ song in the film–how did you get permission from her to use it?
LUCINDA! I LOVE Lucinda.
In 2005, after meeting my birth mom, I traveled to Minnesota to meet my FIVE half siblings. Unbeknownst to me she had reached out to Lucinda’s team, told them our story and that I was a fan, and they hooked us up with concert tickets for when I would be in Minnesota. We met Lucinda backstage and I told her I was from New York City. She said she was doing a show at the Beacon soon and asked me to come. I did! Afterwards I was called backstage and Lucinda asked me to tell Elvis Costello, who was standing next to her, my adoption story. (GASP.)
When choosing music for the film I knew I wanted to include a Lucinda song. It felt like such a special connection for me and my birth mom. The song Mama You Sweet at the end makes me cry every time.
I had terrific music supervisors who helped contact Lucinda and Tom and they were kind enough to grant me the rights.
HollyShorts is a major platform for indie filmmakers, so what does it mean to you to be able to play your film here? How will you be celebrating?
It means a lot to premiere MARY MEET GRACE at HollyShorts. Our film was chosen from over 5,000 submissions. I can’t wait to share this movie with people. Everyone who worked on it did so with love.
What’s next for you? And where can viewers follow you and your work?
I have another short film up my sleeve that I’m DYING to make, and aim to go into production at the beginning of next year, but what I’ve really set my sights on is the feature adaptation of Mary Meet Grace called The Hunt For Grace. It’s a double cat and mouse thriller that shifts into an action movie. It’s gonna be wild.
Also coming out next year is our feature, BLISS. Clint Jordan (Dom) and I, along with director Joe Maggio co-wrote it and we wrapped shooting last month. It’s a stunning film and we are chomping at the bit to share it.
Follow along: www.marymeetgrace.com and @farylforreal!
