Styled on classic period dramas from the last century, coupled with a very contemporary theme, Ailish Castillo’s THE WIDOW attempts to reflect on the life and experiences of a widow coming to terms with her ongoing personal loss.
Film And TV Now recently spoke with the Actress/Film-maker about her film and the process of making it.
FILM AND TV NOW: What prompted you to create a story based around a widowed character?
AILISH CASTILLO: This story is inspired by my Grandmother who was widowed when my Grandfather died of TB and she was left alone to raise their three children in 1950’s Ireland. Growing up, I would listen to her stories about how she managed to get by, selling her art to make ends meet etc.
I found these stories so visual and felt they would resonate with a wide audience so I decided to develop them into screenplays. The Widow is the first one I managed to get off the ground.
FTVN: The film is dedicated at the end ‘For Peggy’ – and you have already mentioned that this short was inspired by your Grandmother. Tell us a bit more about her and how inspiring was she as a real-life character?
AC: She was an artist and a real lady. She never left home without her lipstick. She wouldn’t allow us to call her Granny as she didn’t want to feel “old”!Â
I remember thinking how well she always presented herself with her hat, coat and gloves. But she was masking a dark past of hardship and poverty. She was in desperate need of support.
As a mother myself I know how difficult it can get but to imagine 70 years ago, not having a husband, a support system or a proper income, meant she was very alone.
FTVN: What fascinated you about the period in which you shot? We understand from the gravestone we see that the husband died in 1950.
AC: I’ve always been drawn to period drama, especially the 1950’s era, movies like Far From Heaven and Roman Holiday. There’s something visually beautiful and sophisticated about it. People put more care and attention into their style and how their clothes were made. What can I say, I’m a sucker for vintage!
FTVN: You shot around Windsor and Clewer. What challenges did you encounter when putting the film together?
AC: We shot here because it was simply the cheapest option, my home in Windsor became the base where some of the crew also slept and my Mother flew over to cook all the meals so I didn’t have to pay for catering. The interior locations were less than a minute walk from me which was very handy.
However, the fact that we were not far from Heathrow, planes overhead became an issue, but our Location Sound Recordist was amazing and we managed to work around it.
FTVN: Tell us about your cast.
AC: I played the lead, Nora, (under my maiden/acting name, Symons). I was blessed with a brilliantly talented cast, the housekeeper, played by Siobhan Mac Sweeney (Derry Girls, ch4), Jonathan Tafler (Yentl) who played the priest, both of whom I’d worked with before and also Gillian Horgan, a friend from my hometown, Cork, Ireland, all were happy to come on board and help me bring the script to life.
FTVN: You work with a number of children in the film. What was the experience like for them?
AC: The kids were incredible! They had never been on set before and did a fantastic job. They were my friends’ children so we already had a good relationship and I think that shone through in the film.
For the breakfast scene we kept the camera rolling, popped a puzzle and a few toys on the table and just let them play, there’s a lovely natural flow to the scene and even the unexpected things that happened just made it more authentic.
FTVN: Tell us about your production team.
AC: The majority of the crew were female. I was so grateful to have a strong, skilled team around me. Obstacles we encountered now and then were dealt with and the production was kept moving in the right direction. We all believed in the script and wanted the same thing, to produce something very beautiful and of high production value.
FTVN: Much of the film is based around suggestion of what this character experiences, notably in the scene where she goes back to her husband’s gravestone. Was this a conscious decision when developing your screenplay?
AC: While I was developing the script, the Harvey Weinstein case showered the headlines and the #MeToo movement was born. I wanted to highlight the power and authority the Catholic Church had over the Irish in my Grandmother’s time.
Anything could happen behind closed doors and it was never spoken about. So many women (and children) suffered in silence for fear of the shame it could bring on them and their family. In my film, Nora is let down and her faith is shattered, the one remaining link she had with her dead husband.
FTVN: How long did it take to shoot and how did you raise finance?
AC: It was a 4 day shoot in total. I started a crowdfunding campaign which helped. I sold my wedding gown. I also paid people in kind, the locations I used for example, Nora’s house, was an old pub owned by a local headteacher so I did a talk with his students and then arranged a fundraiser for the other location, my local church, as a thank you. My budget was so low I had to think outside the box.
FTVN: What would you like the film to represent for you in terms of its’ impact and what would you like to gain in the future from its’ release?
AC: I’d like this film to hit a chord with its audience and hopefully shine a light on women who have the strength to keep going. The hope is to make more contacts in the industry and I’d love for it to be a platform for me to then develop more of my screenplays.
FTVN: Would you like to expand the short into a feature version and what other subjects would you like to cover through film-making in the future?
AC: It’s funny you should ask this as I was actually playing with the idea of developing it further into a feature, I might still do this one day but for now I’m looking to apply for funding for a short I wrote which explores the Irish community living in London during the 1960’s. I’m also in the early stages of writing a fantasy drama based on Irish mythology.
FTVN: COVID-19 has affected film production across the world. How are you coping with the crisis?
AC: The arts industry has taken a huge blow that’s for sure. During lockdown, as well as homeschooling my kids, I produced a beautiful short film animation called, A Piglet’s Tale, directed by Fabrizio Gammardella. This project was made by artists working in isolation in their own homes anyway so the pandemic didn’t really affect its development.
FTVN: Finally, what are you most proud of about the film?
AC: I think just the fact that I got it made! I know it sounds funny but for years I’d put myself in that actress box and I didn’t have the confidence to take matters into my own hands. Now, thanks to The Widow film, I believe in myself and I can take those next steps in the production world.
