INHERITANCE,is the indie directorial debut by Emily Moss Wilson (DRINK, Christmas in Tune, Rescuing Christmas) will have its world premiere at Dances With Films.
Written by Rachel Noll James (Ingress, Don’t Pass Me By, The Storyteller), the female-driven drama stars Austin Highsmith Garces (Dolphin Tale 1 & 2, Scream: The TV Series, Criminal Minds) and Noll James, who deliver powerhouse performances as the two sisters at the heart of the story. Sienna Beckman and Noll James of Emergence Films, Highsmith Garces, and Moss Wilson produce.
INTERVIEW WITH DIRECTOR EMILY MOSS WILSON AS TO HER NEW FILM.
What is the SCOOP?
Inheritance was made in true indie fashion. What started ten years ago as an idea born in an acting class finally came to life with the creatives that believed in it from the beginning. The journey of getting this film made involved a lot of “no’s”, particularly early on when none of us were big enough to get substantial meetings or money. But we never stopped believing in this story and that we were the ones to make it and, thankfully, we found others who believed the same thing.
What inspires you as a filmmaker?
For me, making movies is about sharing some part of the human experience. Whether funny, sad, inspiring, or tragic, movies are an opportunity to build understanding, empathy, compassion, and connection. I find inspiration in people I meet, places I travel, and stories I hear along the way. My kids inspire me to see things with a childlike perspective when I need to and my faith instilled in me that everyone deserves to be loved and known. I also find inspiration in other people’s work. Not just other artists, but anyone who has given their life to a particular cause or calling, big or small.
Where did the idea of Inheritance come from?
I was given an early draft of Inheritance by Rachel and Austin, who had met in an acting class and were often mistaken for each other on stage. They took this as a sign that they should play sisters in something and the seeds for Inheritance were planted. A lot of Lucy and Paige’s dynamic is based on personal experiences that Austin, Rachel, and I have watched play out in our own respective families. We all shared stories as we crafted the script to give as much authenticity to the characters and their choices as possible. We wanted to show that families are messy and complicated and that the inherited traits and traumas passed down to us are not our identity or our destiny.
Why is telling this story so important to you, and why are you the best person to tell it?
When I read that first script, I was instantly drawn to the story because I’m the oldest of two sisters. My sister and I were and are very different and navigating that as kids was difficult. In adulthood, we’ve found a beautiful friendship but it took work and perspective and some growing up to get there. Inheritance also explored something that I hadn’t really seen in television or film before – the dynamic that can often exist where one sibling assumes a “caretaker” role of the other. I’ve seen this specific dynamic play out in the generation before me and so I knew instantly that I had to be part of telling this story.
What was the most challenging or unusual part about making this film?
The biggest challenge for us was, I imagine, a challenge for most independent projects – making a good movie on a small budget. The core creative team knew we were going to have to wear a lot of hats. We knew that shooting on a literal island would make things more challenging, too. But the amazing thing about challenges is that they often bring about a little bit of magic that you couldn’t ever plan for. We were also attempting to prep and make a movie in the middle of an industry-wide strike. That was a bit unusual. We were granted our SAG-waiver just in time to get actors on planes and start shooting. The timing of it all felt like kismet.
Tell us about your creative process? What is unique or unusual about it?
I really prioritize getting to know the script backwards and forwards so that by the time I’m shooting I’m not bound to a physical script or sides. This frees me up on set and allows me to fully engage with what’s happening right in front of me. Deeply knowing the script (both structure and dialogue) is also a huge asset in the edit. Seeing the structure in my head allows me to play with moving moments around in post, but also restructuring or adapting on set if something arises or an actor has a new idea or instinct. Another thing I like to do is draw out mini-storyboards as my shot lists. This helps me see how the shots will cut together and know that I’ve got all of the pieces I need to tell the story.
What impact did this creative filmmaking process have on your own life?
Not only is the subject matter personal to me, but the team of creatives that was assembled for Inheritance are some of my closest friends. Making this movie has been a ten year journey and there were many times where I thought it wouldn’t get made (or wouldn’t get made with all of us involved). This movie is a testament to perseverance. Making this movie reminded me that timing is so often out of our control, but believing in yourself is something that nobody can take away. We believed in our team and we found a way to bring this movie to life.
Talk to us about the theme of your film and how you would like the audience to receive and/or interpret its message?
Inheritance deals with family “laundry” that isn’t often aired – unexpressed grief, unresolved conflict, and untreated addiction. And that’s further complicated by another thing families don’t like to talk about – money. All of this culminates in our characters trying to break free from the inherited patterns and labels we so often carry with us, things passed down in our family line that might often feel inescapable. I hope Lucy and Paige’s story helps people better understand that grief has no timeline, healing isn’t linear, and the past doesn’t have to determine the future. I’ve seen all this to be true in my own family, and I suspect others will see it in theirs, too.
Tell us about your cast and why you chose these actors, specifically how you made their performances notably realistic.
Our two leads, Austin and Rachel, have been with the project since its inception. It was after meeting in an acting class and often being mistaken for each other on stage that they decided to come up with a story where they could play sisters. Because Inheritance was written from experiences we’ve collectively had, it’s always felt personal. Austin has always been our “Paige” and Rachel our “Lucy.” Their shared history of friendship and with this story deepened their connection on screen. To round out our core cast, we looked to talented actors we already knew and loved – Chris Mulkey, Wes Brown, Michelle Hurd, Brian McNamara, to name a few. The realism that comes through in their performances is no doubt influenced by the friendships and bonds shared off-screen.
It appears that your team comprises influential women, with Sienna as a producer and Rachel as a writer/actress. Discuss the role of female empowerment; was it pivotal for the success of this production?
Because Inheritance centers around two sisters, we knew having female voices within the core team was important. Women are great multi-taskers, leaders, and bring a level of empathy and compassion that is just inherent to how they work. We, of course, had some amazing men work alongside us, but it was always a goal of ours to give women and other underrepresented groups roles on our project when and where we could.
What’s next for you? Talk about your next project and where you’re at right now.
I’ve been developing a TV series with some amazing producers for the last few years and we’re close to making it a reality. I hope that the rest of the year involves making that show, but in the meantime I’m also developing a few projects of my own (some TV, some film). I’m hoping to find partners who can help me bring them to life, including a female buddy comedy, a roadtrip rom-com, and a female-driven drama series.
What are you still looking for?
I’d love to do another thriller. The first thing I ever directed was a short film inspired by The Twilight Zone and then, not long after, I got swept up into the world of Christmas movies. While I’ve loved making those warm and fuzzy films, I’d love to go back to my “roots” and get to do a psychological thriller with a big cast and budget and, of course, a stellar story. Another major goal of mine is to direct episodic television.
