Charming is an independent short film about the ever-present fairy tale hero, Prince Charming. In many popular stories, he swoops in to save the princess – by helping to rescue her from a tower, providing true love’s kiss, vanquishing the monster, or finding the foot that fits the slipper. But what about his story? Why does he save all these princesses, and what is his happy ending like?
Pondering these questions led Tom Albanese to write and direct Charming. After no success with the script in Hollywood, he wasn’t about to give up. Instead, he recruited help from friends to bring it to life. And if you ask me, this was infinitely better than anything Hollywood could have done! Charming is the result of a dedicated, caring, and passionate group of people, and whilst watching it you can see their enthusiasm. This film was made because they were determined for it it to exist, which is a story just as inspiring as Prince Charming’s quest for true love.
I was able to interview Tom about his journey with Charming to learn more about his ideas behind the film and his thoughts on fairy tales and storytelling.
Me: So Charming was originally a feature length film. I’m assuming it had to undergo a lot of change to become a short film. What was that process like? How did you go about rewriting the script?
Tom: Yes, my writing partner (Christopher Jones) and I got the rights back to our feature script Charming after optioning it to a production company several years ago. It was tricky adapting a 105 page feature to a 15 page short, which ultimately became a much different story. What I wanted to keep in tact from the feature was intertwining characters from different fairy tales, the King’s pact with the witch (which kicks the story into gear) and the theme of ‘true love’ coming around in an unexpected way.
In some ways, I think writing a short is more challenging than writing a feature because you have such a short amount of time to A) Develop your characters and B) Tell a good story. Things that worked in the feature weren’t working in the short because while we had 105 pages to explore Charming’s problems, now we only had 15 to wrap that all up. But there’s nothing I love more than figuring out how to solve a story problem (besides the possibility of a date with Daisy Ridley), so I had a blast figuring it all out.
What was it like working alongside with friends to make Charming? Do you think you will work together again on other projects?
Totally. I have a production company with Tiago (who Assistant Directed Charming) and Francisco (Captain Hook). We have several projects in the pipeline. Joey Long (Charming’s Assistant Director & Aladdin) is my story guy, so whenever I’ve got something written that I need some thoughts on besides my own, he’s the man. We brainstormed how to frame Charming so we got more of Charming’s POV in a clever way, which ultimately led to the story being told to his big fan Gus (Lucas Royalty).
From watching Charming, it’s clear that you all had a lot of fun making it. I really enjoyed the funny, creative scenarios, like the witch pretending to be an estate agent and King Triton in his retreat. What was your favourite scene to film, and why?
Thank you! Ah, favorite to film. Well, haha there was a lot of stress that came with directing/producing and acting in most every scene (you can’t make it too easy for yourself), but the most fun was shooting the Snow White bits. We had a full day for that, so it allowed us to joke around and come up with stuff. Poor Bea (Snow White) had to put up with me kissing her for 8 hours, but I think she understands that it was all in service of a beautiful story (love you Bea!) And poor Joey had to try to move that day along in between all the outtakes. But at least I had fun!
I love the idea of Prince Charming being the same person in multiple fairy tales, just going around trying to save princesses. What made you think of this? And what first interested you in Prince Charming as a character?
I was studying at the Neighborhood Playhouse in New York City when we put on a performance of Into the Woods. I played Cinderella’s Prince. I had a blast and was shocked to find out not many people had really tackled the Prince Charming character or given him a well-rounded backstory (save for maybe Shrek) on screen. I loved the idea of taking existing public domain stories and their characters (Snow White, Rapunzel, Sleeping Beauty, etc.) and tying them into his own tale. Because really, what the hell is going on with this guy who’s running around kissing all these princesses?
Charming makes references to many well-know fairy tales, including Snow White, Rapunzel, Sleeping Beauty, Little Red Riding Hood, and Beauty and the Beast. Why did you choose to use these particular fairy tales?
It came down to “how many references can I get in here without being annoying?” Haha, the ones I chose had to be well-known enough for people to get quick references, could somehow tie into the story, and, most importantly, be affordable and/or doable. We had to skip The Frog Prince.
What is your all-time favourite fairy tale, and why?
Ah, tough one, but I have to go with ‘Beauty & the Beast.’ The original is much darker (as most of these fairy tales are) than the Disney version most of my generation grew up with, but I love the idea of two people who are at each other’s throats, have a million outside forces keeping them apart and absolutely shouldn’t fall in love… still do. In my mind, that’s a fairy tale and a great story. And that prologue from Disney’s version in 1991 still blows me away. The music, voiceover, images, everything. It’s an incredible introduction to a fairy tale.
The set design of Charming is very realistic, but also unmistakably fantastical. For example, you can tell the buildings and rooms are just ‘normal’ places, but the decor, props, and costumes give them an unquestionable fairy tale feel. What were your artistic decisions behind the sets? Did you have a vision for them, or did you just create them naturally with your given resources?
The apartment complex I lived in at the time was built in the 1920s (give or take a few years) and a bunch of creatives/artist types made it their home before Hollywood’s Golden Age, so it naturally had that ‘fairy tale’ feel to it. It was one of those things where the pieces were all there and I thought ‘it’s stupid not to do this’. We had nickels and dimes to shoot the film, so, yes, while I would’ve loved an actual ‘castle’ and spinster’s shop, we took advantage of the resources we already had, or else the film probably never would have never been made!
Also, a major shout out to our costume designer and make-up designer Irving Green. He went above and beyond putting together the wardrobes and greatly helped give the film its ‘fairy tale’ feel.
The witch is a great character, and I would have liked to have seen more of her! Why didn’t you expand her role, or show her defeat? Personally, what do you think happens to her at the end of the story?
I love the witch. Particularly in that she’s not your typical, evil villain. She’s really a hot mess who just wants to get out of her crappy hut. My friend Patricia Castello-Branco nailed it on the head with that role. She plays a much bigger part in the feature version Chris & I wrote. As for not expanding her role — in the short, she’s a villain, but needed to get the plot rolling. She’s like the bad boss in a romantic comedy, a thorn in the hero’s side, but the real problem is the hero’s relationship with his co-star(s). Expanding her role would’ve been fun, but ultimately unnecessary to Charming’s quest for true love. We shot a longer scene with her trying to trick Snow White with the apple that’s hilarious, but at the end of the day it stopped the movie instead of pushing it forward.
I think at the end of Charming, she throws on a bunch of make-up, goes to Captain Hook’s brothel, downs ten fairy dusts and tries to seduce a Merry Man.
Regarding the ending, without giving away any spoilers, I love that you left it so open. Why did you choose to leave the story like this, instead of going for the traditional fairy tale ‘and they got married and lived happily ever after’ ending?
I love stopping a story early. I read Dracula a couple months ago for an upcoming project, and it just ends. I wanted more, but eventually realized, yeah, that’s it. The story’s over. (Dracula spoiler alert) It’s called Dracula and Dracula’s dead. The rest is just filler. Leave the audience to fill in what happens afterwards. There’s nothing worse than watching something knowing it should’ve ended 10 minutes ago.
I think whatever your ending is, it needs to solidify the story’s theme and wrap things up in a way we didn’t see coming but makes sense. Whether that be ‘happily ever after’ or leaves an ellipsis or is a combination of the two, which I think Charming is.
What are you planning to do in the future – another fairy tale project, or something different?
I’m shooting a comedy pilot in May/June that my prod. co’s planning to pitch to networks later this year. It’s called No Actor Parking and explores the hysterical madness of the ‘wannabes’ stuck on Hollywood’s bottom rung as they all struggle to ‘make it’. As for fairy tales, I’ve got a short about a demon, a feature about a vampire, and one about a mythical creature. We’ll see who bites first.
A massive thank you to Tom for providing some wonderful creative insight into this project!
After months spent touring international film festivals and racking up awards (just look at how many are on the poster alone!), Charming is now available on the Charming Short Film website and you all totally need to go and watch it! You can also follow @CharmingTheFilm and Tom Albanese on Twitter, and check out Adam’s post on Fairy Tale Fandom and Gypsy’s post on Once Upon a Blog for more juicy behind the scenes information.
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