As The Addiction of Hope prepares to reach audiences, writer-director Martin A. Gottlieb opens up about his first feature film experience, the collaboration that made it possible, and the universal themes that shaped its heart. From his partnership with cinematographer David Marroquin to the emotional nuances of the score, Gottlieb reflects on the art of filmmaking, the lessons learned, and the hope that keeps every storyteller going.
Tell us what The Addiction of Hope is about.
The movie follows Jo Stock, played by Anne-Marie Johnson, an African American woman of a certain age faced with a decision that could uproot her life at a time when it’s uncomfortable to change. As an aging actress living off her past success, she’s forced to examine her choices in life and the importance of family versus fame when her sister, Lynnie gets sick in this story about having the courage to change your life.
We often discuss filmmaking in general, but what role did music or sound design play in shaping the emotional tone of the film?
I love the music in this film. Mostly instrumental in select places, but with such impact without telling you how to feel. We also have an original song Mary Morales performs at the end of the film that still makes my eyes well.
As both writer and director, how do you maintain objectivity when working with your own material on set?
I listen. When it’s honest, you can tell, everyone can tell. These actors were so authentic. I was just listening to them become these characters, so it was easy to be objective.
What was your process in collaborating with your cinematographer to bring authenticity and intimacy to the film’s visual world?
David Marroquin and I have such a great relationship he makes it easy to collaborate. We talked about restraint regarding camera moves and we were on the same page. I also storyboarded every scene and we discussed it. If David suggested trying something different, I was all for it. But looking at the boards, scouting the locations — we were well prepared. And we were also open to finding happy accidents on the day of. He shot a beautiful film.
What was the most rewarding moment during the making of The Addiction of Hope?
That’s tough because the whole experience was rewarding. Maybe in the edit bay putting the final pieces together? Maybe just the way the actors reacted to the work? I don’t know. So many. I’m grateful.
Independent films often live or die by word of mouth, how do you hope audiences and critics will champion The Addiction of Hope?
I hope people feel compelled to tell their friends and family to see the film because it moved them, it made them think, made them question certain choices in their lives, made them cry, even laugh — we do have a few in there. In a world where there’s so much going on that’s wrong right now, we all need a little hope. This film is hopeful without being corny or cliché, but by being honest.
Looking ahead, what do you hope this film represents in your body of work and within the landscape of independent cinema?
I don’t have a big body of work, but I’m thrilled I finally made a feature, and the experience has been so gratifying, educating, and fulfilling, it probably represents more in the landscape of my life than in my body of work. If that makes sense.
Finally, what’s next on the horizon?
I’m in the middle of two scripts, one’s a drama and one’s a comedy. Both have taken a back seat to the delivery of The Addiction of Hope. I plan on getting back to them now. The comedy might grab my focus though. I think we all could use a little laughter right about now.
The Addiction of Hope will be in select Los Angeles County cinemas from November 14th.
