Alone is about an engineer named Kaya (played by Stephanie Barkley) who, after managing to escape a galactic disaster that destroys her research ship, finds herself circling a black hole in a life-pod. Alone and seemingly out of options, Kaya starts sending out messages to anyone who’ll listen. This is how she strikes up a friendship with Hammer (Thomas Wilson Brown), a cartographer marooned on a nearby planet.
Written by J. Scott Worthington (based on his own short story) and directed by William Hellmuth, Alone is one of the most exciting and poignant films at this year’s HollyShorts Film Festival. Worthington’s script is sharp, cutting cleanly across the banter between Kaya and Hammer and revealing the special kind of intimacy that only happens when you go all-in in a conversation. Barkley and Brown’s performances are top-notch; Barkley, in particular, demands your attention and your heart. And Hellmuth’s deft camerawork is transportive: you’re taken for a ride, physically and emotionally, and you feel like you’re slowly circling the drain with Kaya.
In our email interview below, the team talks about the unintentional parallels between Alone and the pandemic. “I never thought that we’d create something that would strike home in such a direct way with the current state of the world,” says Worthington. “Now, when I watch these characters talking over screens, never able to see each other in person…I think about my own family.”
Perhaps this what makes Alone significant in our current state of things. Whether it’s pandemic-related or a galactic mission gone wrong, isolation is a universal fear and a universal pain—the past couple of years have taught us this. But what Alone reminds us is that, even when the odds are against us, we will make it to other side.
Congratulations on the film! I understand that Alone had been in the making since 2018. How does it feel to have it not only completed and playing for audiences in festivals but received in such positive ways?
WH: Well, first off, thank you so much for taking the time to interview us. It’s an honor! ALONE has been a long process. J and I first started talking about making the short film together in the winter of 2018, and it wasn’t until over a year later that we finally got to make it. Now, three years after that first meeting, it truly feels incredible seeing it play for audiences around the world, receive recognition, and touch those who see it. I feel humbled by how much hard work and talent other artists have put into this little film to get it to where it is now. I’m thinking of our producer Julianna Ulrich, VFX experts Rick Cortez, Ross Hamil, Jacob Hamil, production designer Eric Palmer, editor Anthony Parisi, composer Michael Vignola, and so many more. And then at the same time, I feel a lot of pride in seeing how all of our hard work came together to make something that people enjoy!
The overarching message of connection is very powerful, probably even more so now given the last couple of years that the world has seen. I’m curious to know if your relationship to the film or the story has changed in any way because of the pandemic? If so, how?
WH: I’ve heard it said, “what is most personal is most universal.” Going off of that, in the early stages of the film we were really focusing on the deep need that all humans have for connection. And as the world suddenly changed when we finished production, the film absolutely took on a new meaning for me. I think, because that core theme of connection is such a personal, intimate feeling, and because J’s screenplay is so emotionally honest and thoughtful, some of the surrounding meaning and context of that theme was able to morph and take on even deeper layers for everyone working on, and watching the film. For me, the film became far less hypothetical, and suddenly this crazy sci-fi scenario started relating to me and speaking to me, rather than the other way around. As we were wrapping up post-production on ALONE, the process of walking with Kaya through her journey, over and over, almost became therapeutic.
JSW: I never thought we’d create something that would strike home in such a direct way with the current state of the world, but the pandemic had other plans. Now, when I watch these characters talking over screens, never able to see each other in person… I think about my own family, and not hugging my mom and dad. I remember months and months of Zoom calls, and playing Jackbox party games with friends because we couldn’t play board games in person. Suddenly it all hits in a way we didn’t originally intend, but boy is it prescient now.
For Stephanie: You churn such an emotive and captivating performance! How did you prepare for the role? More specifically, what was it like to virtually act on your own? How did you find those pockets of hope and helplessness that Kaya was going through?
SB: Thank you so much. I spent a lot of time thinking about Kaya’s life up until this point. Her mother was her role model. The path she took as an engineer was a direct reflection of that. After the loss of her mother, I imagine Kaya dove into work that much harder and pushed aside her feelings at that time.
The loneliness she had to endure, and then as time went by the sense of community she gained within the workplace can almost feel like family, so I saw her in her life enjoying that time but then once again, she loses not just one significant person but her entire crew. So, I would go through this cycle in my mind.
I mean you feel the scene over and over again but then you’re there on set with all the gadgets and lights and you must disregard all of that. There’s a point where you have to keep your horse blinders on. I had no other choice but to be completely vulnerable in that space William was shooting in or the performance wouldn’t translate.
Kaya was taught by a mentally strong woman, so you never see her really go completely crazy in this small pod. Even directly after we see her lose her crew, I imagined her contemplating what to do next. You see her vulnerable, feeling that complete loss at times. But she really keeps it together for the most part and never stops trying.
For J.: I understand that you wrote the original short story. Where did the idea come from? What was it like to turn the story into a script versus writing the original prose?
JSW: The idea started with this sorta TWILIGHT ZONE-ish hook — “What if two people in space were trying to communicate and were out of sync the whole time?” Then I reverse-engineered everything from there, and tried to come up with a compelling, science-based reason for that displacement, hence throwing a black hole into the mix. That eventually led into some deeper themes about connection, and what you’re willing to reveal when you have nothing but time on your hands (and your end is staring you in the face). Kaya holds it all together as a centerpiece — I wanted to write a compelling female character in a sci-fi setting that wasn’t a damsel, or a standard kick-ass type, but was clearly good at her job (and, like Steph mentioned, never, ever stops trying).
The original short story was a bit of a cheat — 95% is just the messages back-and-forth between Hammer and Kaya, with some prose bookending the story on either end, so in a lot of ways I had already written a short script. The rest of the work in adapting it was coming up with things for Kaya to “do” in her life pod, the visual connective tissue between lines. It was a pretty easy switch overall, but nothing ever prepares you for seeing your words on a page come to life onscreen.
For William: When did you first come across Alone, and what about it made you want to turn it into a film?
WH: I love science fiction and knew that I wanted to make a sci-fi short. But, what I love about sci-fi isn’t the vfx and spectacle. Sure, I like that stuff, but I’m not a vfx expert or a thrill seeker. I love science fiction because of how it shines a light into the deep places of humanity that we might not normally be able to see as clearly in our current world. Before I even finished reading J’s short story, I knew it was exactly the kind of science fiction I love. I love character-based, performance driven stories that are rooted in big sci-fi ideas. I wanted to make a movie that would impact those who watched it, had quiet introspective moments, and would give me a chance to collaborate with a phenomenal actor. This is one of the reasons why it took us over a year to finally film it. Finding that perfect lead, and supporting actor, was so important. Of course, when I met Steph and she was kind enough to audition for the film, I knew right away that she was perfect for the role. Sure enough, on set she was so dedicated, never hesitating to completely throw herself into the moment, and she ended up giving such an organic, beautiful performance front to back. And Tom, as Hammer, was amazing to work with too. Seeing him deliver that ending monologue was better than I could’ve imagined it would be. Ultimately, this is why I wanted to make the film: I knew this story would give me the opportunity to collaborate with incredible artists with the goal of creating truthful moments, and communicating some timeless truths as well.
HollyShorts has been an incredible platform for indie filmmakers from all over the world. What does it mean for you to have Alone screened here? How will you be celebrating?
WH: I honestly had to do a double take when I got that acceptance email from Hollyshorts. I truly have been a fan of this festival for years and have always wanted to screen a short film there. The quality of the shorts screened at this festival really is outstanding and I’m honored that we’re part of that line up. To celebrate… we’re gonna go to the festival!
JSW: It’s such an honor being part of Hollyshorts, the filmmaking on display is incredible. To celebrate, I’m going to deep-dive my way through a bunch of quality film blocks, attend a few panel sessions at the Japan House, then head home and enjoy some wine and truffles. It’s the little things in life.
What’s next for all of you? And where can viewers follow you and your work?
WH: I’m the director of photography on an action feature shooting pretty soon, so I’m in the middle of prep for that. Besides that, J, the producers, and I have written and developed a feature-length version of ALONE that we have been pitching around town. We have some very promising leads for financing and it looks like, fingers crossed, we may be moving on this pretty soon! You can find my work on my website: www.williamhellmuth.com, or my Instagram: @williamhellmuth_dp.
JSW: I’m working on a new horror feature w/William, in addition to ALONE’s feature adaptation; a new short film I wrote will be shooting sometime in the late fall, which shines a spotlight on LA’s complicated group home system. You can check out my portfolio at www.pixienovacreative.com, or follow me on Instagram: @jdotinla.
