Question: How did you come up with the story?

Answer: I have a life-long love affair with film noir. I also wanted a story with a theme that’s so controversial that it hasn’t really been touched very much by Hollywood and absolutely never to the extent or degree that this picture does. So, I conceived a plot line that weaved itself around that particular theme and shot it in the classic film noir style, which only heightened the suspense and created a particular mood that augmented the storyline.

Question: How did you get your actors?

Answer: That was a most-difficult task because I wanted relative unknowns with faces that told a story. It took several months, but I was able to find actors who really looked like they could be the characters they portrayed. It made the film that much more powerful than if I had used well-known actors or stars. Casting is vital; particularly, in a film such as this, where the goal was to make it as believable as possible. In that respect, I believe we truly succeeded.

Question: You mentioned the “classic film noir style”. Exactly what is that?

Answer: In the “classic film noir” theme, there is almost always someone alienated from society; someone forced to exist on the fringe because of circumstances over which they may not have control. One of the strongest aspects of film noir is the low key lighting and interesting camera angles. Light, shadow and camera placement play a vitally important role in setting the mood and intensity of a film noir picture; and that is particularly so in “The Two Pamelas”. Literally translated, “film noir” means dark film.

 

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