Writer/Director Brian Jun’s SLEEP WITH ME is a dark suburban drama focusing on Paul (Cliff Chamberlain) and Gabi (Danielle Camastra), a young couple unsuccessfully striving to start a family. Paul lives in the shadow of his overbearing father (played by veteran character actor Raymond J. Barry), and Gabi copes by engaging in risky activities that threaten to break up their marriage. Helmed by acclaimed regional filmmaker Brian Jun — whose previous features include “Joint Body” and Sundance competition film “Steel City” — this ensemble drama explores themes of sex, infidelity, and black-market drug use.
Brian Jun took the time to answer some questions about his film for We Are Movie Geeks
Interview conducted by Tom Stockman
We Are Movie Geeks: How did you become interested in films? Did you grow up a movie fan?
Brian Jun: Initially, I was interested in acting and theater. I became an avid reader of Sam Shepard and other contemporary playwrights when I was a teenager, and that lead me to the independent film scene of the 80s and 90s. I was never a movie “fan” growing up, I just realized I wanted to write and express myself visually. I can pretty much thank filmmakers Wim Wenders and Jim Jarmusch for giving me the license to be weird and quirky as a teenager.
WAMG: What filmmakers have inspired you?
BJ: Building on the previous answer, I was heavily inspired by European directors. Ken Loach remains a major influence, Jarmusch, Alex Rockwell, Robert Bresson, Michael Haneke. Also the guys from the golden age; Bob Rafelson, John Schlesinger, Peter Bogdanovich, Martin Ritt, Kubrick – and I watch a Scorsese film at least once a month.
WAMG: How did the script for SLEEP WITH ME come about and how long did it take you to write it?
BJ: I began writing some basic scenes between a young couple talking about having a child and how that was affecting their sex life. The pressure of conception was the catalyst for the loss of attraction, and it slowly became a little story. I wanted to make the film for nothing in my apartment in St. Louis as an experiment, but I wrote a role for my close friend Ray Barry… he said he was in. Then, I knew it was going to be a bigger deal, and I hired a casting director, thought about funding, etc. That’s why it landed on Indiegogo; I needed to get actors to the Midwest and assemble a crew. The script itself took about 6 months to write. I am not a fast writer; and half the script is on post-its and a notepad before it goes into my computer.
WAMG: Were these characters in SLEEP WITH ME based on people you knew?
BJ: Not really. Besides my own journey of intimacy – I’ve never been married or in the position of Paul and Gabi. I imagine myself in these different scenarios, and Paul is really a version of myself. When I met Cliff Chamberlain in Los Angeles, we got along so well, we were the same age separated by 10 days… we were extremely similar. He felt like an extension of myself, so I knew he was the guy. I just wish I wrote a better script for him, to be honest. I’m frustrated with the core relationship in the film, because it should have been much more.
WAMG: What was the budget and the schedule for SLEEP WITH ME?
BJ: We shot the film for around 100k in 12 days with another pick-up day with Sean Trani from First Rule. Sean and First Rule were very integral in making this film happen, and their support and generosity has been amazing. In all my years in Los Angeles I never came across a company like First Rule; they were tremendous.
WAMG: If you had more time and money, what might you have done differently with SLEEP WITH ME?
BJ: I probably wouldn’t have made the film, to be honest. It was fun because I didn’t have any money when I began. While that may be a glib response, it was always an experiment. More money would have given me more days and nicer locations. It wouldn’t have given me a better script. The budget of the film is appropriate for the story. I wouldn’t change that.
WAMG: Tell me about casting Raymond Barry in the role of Henry. I’ve always liked him. Were there other name actors you considered?
BJ: No, I wrote it for Ray. Ever since STEEL CITY, Ray has been my mentor and a father figure to me. Ray is a writer, a painter, a father, an actor… he’s so multidimensional and extremely intelligent. I knew he could play Henry in his sleep; and it had been 10 years since “Steel City.” We were close to working together in “The Coverup,” but I ended up casting John Savage, who is a brilliant actor. We’re talking about method to the core.
WAMG: Do you allow your actors to have much leeway with their roles or are you strict with keeping to the script?
BJ: It varies depending on the actor. In my experience, they all stick to the script. However with guys like John Savage or John Heard; you’re going to get a mixed bag depending on how they’re feeling that day or if they like you personally. To be honest, actors rely on you for ideas and character development. Or you have an anomaly like Tom Guiry, who was the lead in “Steel City,” who just shows up and does it; no questions asked. As a director I always push and challenge; I want them to reach their limit as an actor; as a human being. It’s more, more, more… digging into their own personality, struggles, exploring different facets of themselves.
WAMG: What area locations did you use for SLEEP WITH ME?
BJ: We shot it all outside of Alton, IL. The house was in Godfrey – my brother’s house that was for sale at the time. Other locations were in Bethalto, Collinsville, and Alton.
WAMG: What are your release plans for SLEEP WITH ME?
BJ: Good question. I’m so sick of seeing my work being picked up by bottom tier distributors that do nothing to promote, pay you very little, etc. The only film of mine that has been mass distributed all over the world was “Steel City,” but times were different back then. The DVD market was healthy. I want to screen at some festivals; and see what happens. I’ve been around the block as a filmmaker, so I’m in no rush to sign a deal.
WAMG: What’s next for Brian Jun?
BJ: I seem to ask myself that everyday. My life has changed. I’m producing other peoples’ films, doing some teaching, developing my personal life. Things are good right now; and I’m in no rush to make another film. I’ve been making a film every 2 years since 2004, and I need a break. Being a filmmaker has lost a lot of value; anybody can do it now. The market is over-saturated. It’s very difficult to make a living.
