Confessions of a Well-meaning Man
When a hurricane cuts off contact between the inebriated host of a popular call-in radio program and an obnoxious, accusatory listener, Father Boyle struggles to defend his reputation on-air.
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Diana Lauren JonesDirector
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Alex AdamsWriter
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Evan ShwartzProducerDeath Inc (Audiodrama)
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Alan CoyneKey Cast"Father Robert Boyle"
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Project Type:Short
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Genres:Comedy, Suspense
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Runtime:19 minutes 7 seconds
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Completion Date:December 4, 2022
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Production Budget:2,000 USD
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Country of Origin:United States
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Country of Filming:United States
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Language:English
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Shooting Format:Digital
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Aspect Ratio:16:9
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Film Color:Color
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First-time Filmmaker:Yes
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Student Project:No
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Oakland Film FestivalOakland
United States
Best Actor
Confessions of a Well-Meaning Man is Diana’s film directing debut. It evolved from a piece of compelling zoom theater ‘told while seated at a desk’ into a fully immersive experience filmed on location. Diana was instrumental in building the creative team and guiding the conceptual conversations to adapt the story into a film.
Confessions of a Well-Meaning Man is a mash-up investigation into religious hypocrisy filled with broad, nonsensical humor and an incisive critique of the human condition.
The text is both dense and buoyant—it’s a mystery, it’s a confession, and it's full of one surprise after another! In film noirs, the 'confession' is often only a minor element, it's the story of the past that drives the plot. Loosely inspired by the film noir genre, we broke from the norm to spotlight the confession live and in real-time.
In its original form as a mostly stationary zoom play, the story's strength as a humorous piece of writing was carried primarily by our actor's talent as a skilled oral linguist. He sat still and played with words. On set, he reveled in the chance to come to life physically. His whole instrument was now capturable on camera; we could experience how he lived his story through his relationships with the world around him.
It was challenging to adapt this monologue to film. I wanted to honor the intimacy and inherent stillness of the original piece. When we had the space and the means to play more expansively on set, I shifted back and forth from focusing on the big picture to all the details within each section of the story. I had to hold on tight to what I knew to be the beginning, the middle, and the end to tell a clear, compelling, and entertaining story.
It was a joy to work with my collaborators to keep that intimacy and to find new ways to capture stillness, play with motion, explore the space, and introduce new relationships to the camera.