Jahmil Eady focuses on the bond between a woman and her grandfather during his last days in the short HEARTLAND.
Film And TV Now spoke with the film-maker about the short and its’ background.
FILM AND TV NOW: At the end of the film, we see the caption ‘In loving memory of Raynard Eady and William Lance. Tell us about these two people and were they the inspiration for one of the characters in the short?
JE: This film is dedicated to my Uncle Ray and Grandfather William.
In 2018, they both died from lung cancer just 6 months apart. During my Grandfather’s final days, I visited him at Heartland Hospice Center down in South Carolina. I sat across the room watching him waste away, worrying about his pain, and grieving all the conversations we never got to have.
I suddenly remembered this time when my grandfather snapped at me for following him around with my camera and asking non-stop questions. He had this really gruff voice, “Put that damn machine away!” I remembered that moment and laughed. For just a little while, I felt lighter. I started writing Heartland right then — with my grandfather.
FTVN: The film deals with the effect of grief and the potential of advanced virtual technology to help deal with the pain. Do you feel technology can offer a catharsis for people with issues like this?
JE: Yes, I think technology can be a valuable tool during times of grief. Of course there is always a risk of indulging too much but overall, I’m grateful for technological advancement.
During the height of Covid-19 we were dependent on virtual platforms and tablets to find connection. There’s this haunting picture of one hospital’s ICU ward. There are rows and rows of tablets waiting for dying patients to tell their loved ones goodbye. That virtual space was the only way people could find a semblance of closure. I don’t think I’ll ever get over that picture.
FTVN: Tell us about your cast.
JE: Maxine Goynes plays Jackie and Haskell V. Anderson III plays Lance. They are real talents! Haskell was a class act and well of positivity. Maxine was a gift from God. About 3 days before the shoot, I lost the actress who was initially going to play Jackie.
Maxine joined us and only had one day to learn her lines. We really connected over the script because she had unfortunately lost her father that year. All of the chemistry between Maxine and Haskell was developed on set with improv, shared histories, and vulnerability exercises.
FTVN: Tell us about your production team.
JE: My production team was amazing! Nearly all of my department heads were women, 75% of the crew were people of color, 50% were international. Having this level of diversity on set elevated everything! I did the same for my next film. This will be the norm for my future projects.
FTVN: Where did you shoot and for how long?
JE: We shot for 3 days in Los Angeles. I was thrilled we were able to film at the Japanese Garden and Tillman Water Reclamation Plant. Star Trek fans might recognize it as Starfleet Academy. I’ve been a huge Star Trek fan since I was a kid and although Heartland is grounded in reality, it is a science fiction film. It’s nice that I was able to throw in an easter egg for the science fiction folk.
FTVN: How did you raise finance for the short?
JE: I’m a graduate directing student at UCLA, so I was able to finance the film with student loans.
FTVN: Would you like to expand the themes in this film into a feature version?
JE: Heartland is a stand alone short; however I will continue to explore complicated family dynamics. Whether it’s science fiction, fantasy, or drama, my work will always centre women, queer, Black and POC protagonists.
FTVN: You have worked as a documentary film-maker for the likes of Oprah Winfrey Network, Viceland and Discovery. What are the key things that you have learned from your experience working for these production companies?
JE: The most important lessons I learned had to do with building relationships, connection, and getting comfortable with vulnerability. When I applied for the Associate Producer position for OWN’s Released, I interviewed with the Executive Producer, Keayr Braxton.
I wasn’t as experienced as other candidates but I communicated my personal connection to the subject matter. I used story to pitch myself. Keayr said she could feel my excitement for the project through the phone. People are moved by genuine passion and connection.
FTVN: Diversity and gender are big issues in the media at the moment. What are your hopes and where do you feel progress has been made post #MeToo and #TimesUp?
JE: I’m glad that we’re making strides in front and behind the camera. I feel lucky to be an emerging film-maker during this period. There’s still a lot of work to be done in the executive space. We need diversity in talent agencies, acquisitions, distribution, and more funding opportunities in general.
FTVN: What genres, issues and themes are you keen to explore in your future work?
JE: I’m currently in post production for my next film, The Bond. It follows an incarcerated pregnant woman as she gives birth and fights to stay connected to her baby. (VERY different from Heartland, I know!) My goal is to bring more attention to the anti-shackling movement and reproductive justice for women behind bars.
FTVN: How has the global situation affected your development and evolution as a film-maker?
JE: At the beginning of Covid-19 and quarantine, I was super anxious about keeping to my timeline and remaining productive. Over the last year, I learned that stress can have a very real effect on one’s physical health.
I had this whole script ready to film this summer, but after actually spending time with it, I realized I didn’t want to do it. It was way too heavy. After writing and directing two shorts that are so personal, my next film will to be more joyous.
FTVN: Finally, what are you most proud of about this short?
JE: I’m proud I was able to make a film that honors my uncle and grandfather. I’m proud that Heartland touches not just my family members, but other people as well.
