t i m o t h y   J a m e s   K a y

D I R E C T O R ' S   S T A T E M E N T

 Mire focuses on a young married couple that - as a result of their actions and lack thereof - experiences the slow self destruction of their relationship. 

I found this story compelling because I wanted to explore the grief that accompanies a marriage relationship. Often, marriage is viewed as a magic wand that eliminates flaws and vices. I wanted to tell a story that was much closer to reality - a story in which the characters wrestle with the grief they’ve endured together and the grief they’ve caused one another. 

It was essential to me that these characters weren’t vilified or celebrated. Instead, it is my hope that audiences will empathize with and see themselves in this very human struggle. 

A r m e k a   c a r t e r

P R O D U C E R ' S   S T A T E M E N T

I was instantly drawn to Mire because it wasn’t another film that delivered a love fairytale. What we see too often in film and television sets one up for failure; you expect marriage to be a nostalgic end to your miserable single life. In marriage, once the honeymoon is over and the Taylor Swift music stops playing in the background, you realize that every depiction you have seen of this institution is lacking one important thing – reality! 

While creating Mire, we wanted to stay true to what we know is reality. I think everyone will be able to connect with Billy and Chris’s story. You will watch this film and feel as if the story of a friend or even your own story is being told. 

A M A N D A   M O R A D

W R I T E R ' S   S T A T E M E N T

As the admittedly more defiant half of a beautifully imperfect marriage, Mire was a deeply personal project for me. It was important to our whole creative team that we scripted Mire to reflect the darker syncopated rhythms that every relationship strikes at one point or another. Not every couple faces the kind of loss and lies that Billy and Chris do, but every couple volleys virtue and vice, light and dark, truth and deception. Even if in small non-earth-shattering ways, every couple breaks trust, causes pain, suffers the consequences, and either attempts to repair the breach or watches the relationship fall apart. 

We labored over every line of every confrontation in the script, holding it up against what we'd observed in our own marriages, stripping away anything that felt false, choreographed or out of tune. The slow burn of the collaborative writing process (about 10 months total) gave us lots of room to dig for the nerve of each moment between these two lost, broken souls. I think -I hope- in the end, we really struck a few.

B R E T T   W I L S O N

W R I T E R ' S   S T A T E M E N T 

This project scared the hell out of me. 

Let me explain: When we first began writing for Mire back in 2013, I was on the fresh side of a brand new relationship. It was the cool side of the pillow, the warm sunspot on the floor, the first crescent-dive into a still pool. 

Very much Billy and Chris before their marriage started to crumble.

I crept naively into this project, piggybacking shamelessly off my more-experienced teammates. I knew nothing of scriptwriting and even less about marriage. But, throughout the almost-year it took to write and revise a cohesive script, I learned quite a bit about both.

I couldn't imagine loving someone so much – as Billy and Chris did at one time – only to have such a dark side of the coin turn. Through the creation of the literal hell we put these characters through; we asked ourselves if we are courageous enough to pursue relationships in the midst of our own private hells.

I said "Yes" and embarked on a brand-new marriage with that same cool-side-of-the-pillow man I was dating at the start of this project.

Billy and Chris have an answer of their own.

T I M O T H Y   J A M E S   K A Y

D I R E C T O R   O F   P H O T O G R A P H Y ' S   S T A T E M E N T

In shooting this film, I wanted to capture a sense of impending darkness and shrinking space. As the characters' choices cause their world to close in around them, so does the frame - often revealing the characters in frames-within-a-frame. Darkness and shadows played a very conscious role in the visual storytelling as well - the frame often consisting primarily of gradient blacks that lead towards a single point of light.  

The scenes were lit primarily with natural light to achieve a realistic aesthetic, complemented often only by elements that were within the frame (a television, a lamp, etc.). While colors play a vital role in character identification and mood, the different timelines of the story naturally lent themselves to a spectrum ranging from bright saturation to near black-and-white. This shift in color helps underscore the transition happening consciously and
 subconsciously within the characters. 

It is my hope that as you watch this film, the visual direction creates a sense of space, stillness, tension, and color that compliment the story’s 
emotional journey.