A mysterious older woman seeks revenge on the corrupt legal guardian who destroyed her life. The G stars Dale Dickey as Ann, in this crime-drama from writer/director Karl R. Hearne.
As The G releases on various VOD platforms on August 21, Nick L’Barrow spoke with the films star, Dale Dickey, and writer/director Karl R. Hearne about how the story came to life, collaborating together, and why the F-word can be so impactful when used right!
Nick: Thank you so much for your time! I’d love to start with you Karl, because I loved the opening and closing scenes of The G. So, I’m curious to know what the importance of having such impactful starts and finishes of a film is to you when you’re writing the script?
Karl R. Hearne: I think it was conscious with the opening scene, you know? This is a slow burn type of film, and this was a way to get people’s attention, and give them a hint as to what kind of film it’s going to become to a certain extent, because it does dip back and forth between genres. So, this was a way to really give people a taste of what’s to come before we get into building the characters and relationships, and that kind of thing. That’s the opening scene.
And then, well, the closing scene, I don’t want to say too much, but you want to sort of get out quickly as well, right? There’s a famous saying in Hollywood lore – I forget which screenwriter said it – but when the film’s over, don’t hang around. You want the ending to have impact, but you don’t want to stick around for too long. I want to say more, but I don’t want to give away what happens!
Nick: Of course! How impactful is it for you then Dale, as an actor, when you read scenes like those? Does that factor into how you choose what films you want to do?
Dale Dickey: Yeah, I’m certain of it. Once we get into filming, the script starts to come alive. I could see technically how Karl had built in all of these visuals in the scene to build up into that excitement and thrill of it.
But the ending scene actually changes a little from what we had originally filmed. I love what he did with it. I think it works perfectly. It was a similar ending, just a different location.
Nick: Karl, you mentioned the slow burn thriller aspect of the film, and it’s a tense, noir film. However, there are these moments of levity that really show a side of Ann that’s far more tender. The scene that sticks out to me is when Ann changes the lightbulb on the porch, and for a moment, she basks in the glow of the light with a smile. What do you feel like those sorts of moments do for the story and character?
Karl R. Hearne: I mean, it’s good to break up the rhythm of the film every now and then. And in particular, to surprise the audience. I mean, it’s not the kind of film that you really expect to have these moments.
You were talking about levity – it’s different for everyone, right? This is a definitely a dark film and has some dark sequences that are, you know, pretty violent and pretty intense, but these sorts of scenes come out of nowhere and surprise the audience. We’ve seen a lot of that at the festival screenings, and I think people appreciate that. They appreciate seeing something that they’re not used to seeing.
Dale Dickey: That image you brought up, I really love that image in the film. Ann finally accomplished getting the lightbulb in. Ann is not going quietly into the night, into old age. She doesn’t want to become dependent. She wants to do everything herself, even if she’s drunk off of her ass!
I remember when Karl gave me that moment, and he said to hold a moment and look up, and I was just bathing in the light. I think it might be the only time you really see The G smile. And it was like, “I get it.” Ann accomplished it in her drunken stupor. It was all going to be okay. But it’s kind of a beautiful moment before the shit hits the fan!
Karl R. Hearne: If I could add something to that, I really like how Dale put that. You mentioned levity earlier, and there’s stuff in there that’s a little bit funny. I mean, there’s a thug waiting outside and watching this all happen. And he just has some funny comment.
But as Dale said, for me and for her, by the end of that scene, it becomes something else. This is an older woman, who just drank an entire bottle of liquor, and she’s got this ladder out, and it’s a pretty bleak existence that she’s enduring. And then this is sort of this bizarre, little moment of triumph in her life.
It kind of goes between this is bleak and this is funny, and then this is showing something about her spirit. Obviously, we’re going to see later on in the film just how badass she is, but in this moment, you see her in a more gentle kind of way.
Nick: There is so much to balance in this film, especially story wise as your script explores disconnected family dynamics, elderly abuse, a relationship drama. But it’s also an incredibly tense thriller. What was your process in bringing all of these elements together in the script?
Karl R. Hearne: There are two things that really inspired this film, and the thing that came first was really the character. The film is called The G, and Dale beautifully embodies The G. The G is based on my Irish grandmother. A lot of her spirit is what forms the backbone of this film. So, that’s what comes first and foremost. It was like a character study. This is sort of a woman that I mythologized a little. A real-life person who I always admired, who I was a little afraid of. That’s what came first.
Then the second thing, like the major element, is this insane, dystopian, but very true to life, scam. It’s actually a legalised guardianship process in North America, and certain states are more notorious for it than others. But, you know, at a certain point in Nevada, you could take over someone’s life with just some doctor’s note or the signature of a county clerk. You didn’t even need to go before a judge.
If you put that in a movie, no one would believe that was possible – that you could take over someone’s assets, administer them for them, decide if they’re going to ever seen they’re family again, or decide which drugs they get to take. But all of it’s true, and it’s crazier than what’s even in the film. So, the simple genesis of the film was this character who was a real-life person, dropped into this nightmarish scenario. Those were the first two building blocks.
Nick: Knowing that the film was so hinged on this character, Dale, does it excite you as an actor to have such a complex, flawed character to work with at the centre of the story?
Dale Dickey: It was great because I’m such a flawed person. I love the character. I didn’t realise how much I loved her until I got into filming. I knew I liked the script and the story, and I love the fact that she’s not likeable. I mean, that’s hard to play.
And I’ve listened to other actors talk about playing people that aren’t likeable, and it can be difficult. You have to find something in that, something you like, that you understand where it is coming from. Where the anger is coming from. But, yeah, chewing on those moments was… really delicious!
I think in the beginning, I was very concerned about her being too one-dimensional. Staying in this place of anger and stillness and quietness of her delivery. Moments, like particularly after the funeral, when she comes back and finally lets her guard down, and just bawls, you know? Realising where she is and what’s gone out of her life.
Karl was a really terrific director in guiding me and helping me to trust those instincts. He was going to make sure it was balanced, and subtle and nuanced. And I can’t always see that when I’m in the thick of it, to have a director that I trusted him, and he trusted me, and that made for a great partnership.
Nick: I really wanted to end on this question, because as an Australian, swearing is my second language, and I love the use of ‘fuck’ in this film. It actually has some gravitas and power to it, plus there is a scene actually talking about The G’s use of it! How much thought goes into the use of ‘fuck’ as an actor and as a filmmaker?
Dale Dickey: Interesting! I know I love to use it! I love to swear [laughs]. I’ve cussed since I can remember. And it’s hard, I used to work with kids on set, and they’d have a quarter jar every time you cussed. I’d just give them $5!
I remember when I worked on True Blood, and I was warning my mother about the amount of sex, and nudity, and graphicness. And she was watching it and goes, “Oh, that stuff didn’t bother me. But they do use that F-word a lot!”
But I love it. It’s become the norm. It’s very demonstrative. It feels great, and I love that about Ann. I love that gutsiness in her spirit. It’s such a commonly used word now.
Karl R. Hearne: Yeah, no, I mean ‘fuck’ is one of the best words in the language! So, use it! It’s also thrown around so much, but I depend how it’s used too. In the film, it’s a part of her character and it’s something that gets called out by another character, but not with a lot of success.
I actually got in trouble at Q+A! Someone complained that I was swearing too much!
Thank you so much to Dale and Karl for their time, and to Walkden Publicity and Light Bulb Films for organising the interview. The G is available on various VOD platforms from August 21.
