This film was born from a short story I had written for a friend’s project. He had asked me to create a piece of art with the theme “Blonde,” and although I am usually a theatre practitioner, I knew I would write a story. On a directing retreat with La Mama Umbria, I was encouraged by colleagues to convert the story to a short film. The story was already cinematic in nature, the conversion would be relatively simple.
I knew several absolutes going into filming, but first and foremost, I wanted to avoid making Blonde, the character, into a cliché. I had to reveal as little about her as possible, letting the audience fill in any backstory they chose. It was imperative, however, that I not fill in any of her background or even current life – that she be an enigma. In these terms, making a short film was the absolute best choice. I had limited time in which to tell a story and filling in her history would simply not be a part of it.
I want us to never be sure of who Blonde is. I want her to be someone we all know and, yet, someone none of us could ever imagine knowing. She is a part of us all, and she is a part of none of us. She is a part of our lives, of our background noise and of the world around us, but we will likely never meet her and never know her. Although the movie sits solidly in the suspense genre, I also wrote it as a romance. Blonde learning to love herself, others and the things that make her unique. It is a love story as much as it is anything else.
There is no real resolution to Blonde. It ends the way much of life ends – with a question, with a wonder, with a curiosity, and then everything fades to black. It is a reflection of how life rarely ties things up in neat packages for us, but rather leaves us looking out into an open door with no idea of how we got there.
I am incredibly proud of Blonde, the cast and the crew, and I hope you enjoy the film as much as we did making it.