(Courtesy of Abandoned House Productions)
In an exclusive interview with Villain Media, actress Angela Carbone shares her behind-the-scenes journey from her dramatic short film, The Slightest Touch. The on-screen performance of The Slightest Touch captures her undeniable charisma and dynamic personality — in a role that has “a cause and message that is very close” to Carbone’s own heart.
As we previously mentioned, The Slightest Touch describes itself as a frenetic psychodrama. The narrative follows a woman battling post-traumatic stress disorder. Under the debilitating condition of PTSD, viewers will discover what happens in a single day of her life.
During our conversation, I went over with The Slightest Touch actress about the audition process, collaborating with writer/director Asta Paredes, and her upcoming projects.
VILLAIN MEDIA: Tell me about your audition for The Slightest Touch.
ANGELA CARBONE: My audition for The Slightest Touch was super casual — which is the best kind of audition. Asta [Paredes] had me come in and talk about what I was interested in, what she was interested in, and it was just a chat between friends about film ambitions. That is the best format for an audition, in my opinion. Usually on a project, especially one like this, the rapport between your director and actors is the most important factor to address in casting. The talent can be there, but if your actor or your director isn’t someone you enjoy working with, the project won’t be good.
VM: What interested you about the role and playing someone with PTSD?
AC: It was mostly the idea that Asta had a story which, through telling it, could be restorative and progressive for herself and a large community of women. It is also a cause and message that is very close to my own heart — something that I feel I also share a bit of experience in which I am happy to address.
VM: How much research did you do for the role? Or was there enough in the script to build backstory?
AC: Since Asta and I both have very personal connections to the subject matter and who this character could be, we had enough insight to inform the role. However, we did mull over a bunch of other films and photographic influences, as well as news stories and incidents to prepare. The most beautiful part about the script was that everything was written very openly; so that when we came together as an ensemble, we could make a lot of artistic decisions, or decisions about craft together. I would consider some of our group meetings together before filming research for the role as well; simply because we were working off of each other’s dynamics.
VM: What role did Asta Paredes play as a director?
AC: Asta, as a director, was a very supportive director. She really brought all the forces on set together and acted both as an authority on artistic decisions, but also acted as a confidante. This set was a very intimate and small one — where each of us were asked to run with the very open-ended script. So each of us had to interpret our parts like one would interpret a poem. Most importantly, Asta created a really comfortable space for us to try things and work with each other.
VM: Did playing this role have an impact on how you choose roles? Did the performance change you somewhat as an artist?
AC: Every role that someone takes on as an artist influences their future performances and career decisions. Each time you’re asked to work on a job, you learn more about yourself as a performer — where you like to work, who you like to work with, and what you can do. Each set is a place to pick up new tools to add to your belt, so you’re constantly picking up new skills and approaches to the craft. Asta’s set was hard to beat simply because it was such a personal story and I could really work some magic on set — not just creating a meaningful performance for whoever was watching, but to create a story to heal, to gain closure, to understand. It sets the bar high for any other role I’d like to do.
VM: Tell me about your design work. What is it about designing and acting that motivates you?
AC: I do everything to classic bookbinding, to metalworking and woodworking. I tend to design furniture or architectural proposal. I also do a lot of graphic work — collage and photography. And I am very excited to work creatively with other artists. Really, I just love to make things! I love to figure out how things work, and craft ideas, and notions, and tell whole stories through images, physical objects, sounds, weight, and texture.
Acting and designing are one in the same for me, in the sense that creation is about getting people to feel and experience something in the most poignant way possible, to transfer the ineffable.
VM: What other projects are you working on now?
AC: I am working on a few films, including an independent feature about sisters learning to live without each other. I write for a blog called killerandasweetthang in my efforts to be more of an advocate for causes like this one. I am producing a series of music videos for my friend and incredibly talented musician, Stello, with director Drew Weiss. I have a few screenplays I’m working on developing. And I’m always writing, creating, and pushing to put better content out for women and minorities in the creative industry.
– By Jorge Solis