We chat with filmmaker Amanda Deering Jones about Little Mother Lies…
Hi Amanda. Could you introduce yourself to our readers and give us a little insight into your film journey so far?
Hi Everyone! I’ve worked in animation for over 20 years at Dreamworks, Blue Sky and currently Pixar. I produced the Oscar-nominated (2017) animated short film Borrowed Time. I’m a member of the PGA, WIF, WIA, NYWIFT and Little Mother Lies is my directorial debut.
We’ve seen familial dramas for decades now, but Little Mother Lies found a way to stay fresh. What drew you to tackling this complex story of a woman, her sister, and a child?
Truly appreciate the compliment. The sisters intrigued me right out of the gate. Something we all learn as we age is how if you have siblings, it’s likely that each of you had a completely different childhood even if you grew up in the same house. Each child has a different perspective on the same situation. Dorie & Marinka felt personal but also universal, a very compelling relationship to explore.
Pascale Roger-McKeever and Emilie Talbot offer up such wonderful performances. Can you talk about building that connection between the two and how they told such a strong story in a short time.
So glad you see it too, we were extremely lucky to get both of them for this short. Through much of the story, they are at odds so I met with them separately to discuss their characters but also to understand how their brains work. They came together for a rehearsal and then the shoot itself. Throughout the rehearsal we discussed all the layers to the relationship and how the story progresses from scene to scene. A key layer was understanding that they are sisters with a shared past, so even though there is plenty of anger and resentment, they do still love each other. Kudos to them, there is so much they understood from the script and kudos to Kitty for her brilliant writing!
With interest in turning this into a feature-length project, are there any hurdles you’re facing while expanding the story or did you find the material lent itself to an expansion?
The expanded story or feature actually existed first. We decided to make this as a proof-of-concept to gain interest in the bigger story. It’s not a direct pluck from the feature, more a microcosm of it.
The written material and your direction could work in all formats. With a background in animation, was there ever an inclination to turn this into an intense animated drama?
I deeply appreciate you saying that. Not for this story. I’ve been yearning for some live-action in my career and when this story came along, it was the perfect outlet. Live-action is also cheaper than animation most of the time so if you do animation, it needs to be worth utilizing what animation can do that live-action can’t. It can realize worlds that are too abstract or difficult for live-action. This story is very much grounded in reality so live-action is the best avenue.
Kitty Edwinson’s script is very modern but has a classic Golden Era drama to it. Was it a conscious decision to call back to films like Whatever Happened To Baby Jane? While keeping things current?
Marinka lives in the house she and Dorie were born and raised in. She hasn’t changed a thing—she stays swathed in nostalgia for the world of 19th century Russian aristocracy that her parents inherited. So that element sets up a Golden Era feel. Elements like the story unfolding through dialogue were simply the best way to tell this story. In other words, it’s serendipity!
Substance abuse has long been depicted in entertainment, and Little Mother Lies adds itself to that pantheon. What did you want viewers to take away from the film?
A few things. One is for those fortunate few who are unfamiliar with addiction: no matter how good and protective a parent you are, substance abuse can happen to your child. Another is that noticing generational patterns with mental health struggles—addiction being just one manifestation—can lead to powerful insight. Finally, it’s okay to question the treatment or recovery system. There is no one right way—but fierce, unflinching love always keeps the door open.
Many thanks to Amanda Deering Jones for taking the time for this interview.
