Interview with Jason Hildebrand of
The Prodigal Trilogy

Jason also works with film and theater companies, organizations, and educational institutions in various capacities throughout North America and Europe. He lives with his wife and four children in Toronto, Canada.

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Jason Hildebrand: I was commissioned to create and perform the piece a number of years ago for a denominational prayer retreat. The folks facilitating the retreat said they would be using the Luke 15 parable of the Prodigal Son, Henri Nouwen’s inspiring book entitled, The Return of the Prodigal Son, and Rembrandt’s painting, by the same name, as their source material. They gave me carté blanche to create whatever I wanted. What you see on screen in The Prodigal Trilogy is the evolution of what I performed that weekend.

CM: How long did you perform The Prodigal Trilogy on stage before you decided to turn it into a film?

JH: I have been performing the monologues on stages throughout North America and the UK for almost nine years.

CM: What changed between the two formats? What were you able to do on film that you weren’t able to do on stage?

JH: I have always wanted to put The Prodigal Trilogy monologues on film. The monologues have, for me, always felt very cinematic.

A number of things in the film differ from the live performance. In the live performance, I am mostly stationary on stage. But without the live audience connection, this kind of blocking does not work. So, in the film, we re-blocked each monologue and took advantage of the beautiful old theater space we were filming in. In fact, our hope was that the theater itself would become a fourth character in the story. I think we were able to accomplish that.

Also, in the live performance, I give the Father an Eastern European accent and the physicalization of an old man. This works in theater as you can suspend an audience member’s disbelief. However, on film, neither of these character traits work. So the creative team decided that it would be best if I played the role with no accent and as my own age – kind of play it like I was speaking about my own kids.

Another interesting side note is that we filmed each character with a different film technique to reflect their personalities. We shot the Younger Son with a "Fig Rig," designed and used first by director Mike Figgis. This contraption allowed us to get quick and dynamic shots to reflect the younger son’s personality, without the jumpiness of shooting completely handheld.

The Elder Son was shot on sticks (tripod), both stationary and on a dolly with track. We felt that this gave each frame a rigidity appropriate to the character.

The Father was shot in one take with a Steadicam. There is something beautiful about the fluidity of watching The Father pour his heart out without any cuts.

CM: The Prodigal Trilogy contains a number of close-ups of your characters’ faces, and everything else is crowded out in these shots. How did you manage to keep these sequences fascinating for your audience? Do you ever rehearse in front of a mirror?

JH: When I was a kid, I would spend hours messing around with looks in the mirror. Not so much anymore. Of course, now I see my kids doing it and just laugh.

As an actor, it is always my goal to be connected to the things that are going on inside of me in the moment, the story I am telling, and God who breathes through me to change peoples lives. I never want to be found to be "acting." There is an honesty and truthfulness that I aspire to which comes only from simply "being" in a scene. I think that is what keeps people watching the story.

CM: What is the significance of the father setting up the banquet table, already prepared in the first two acts, in Act 3?

JH: From a theological perspective, we wanted to set up the idea that "God The Father" continues to do this for his children every moment of every day. He is always welcoming us to His table. We just need to sit down and receive from Him.

CM: How did Tad Munnings (Film Director and Editor), Tom Carson (Stage Director), and Jason George (DP) come to join your team?

JH: I was blessed to have collaborated with great people on this film. We all worked together to bring the vision of my Prodigal monologues to the screen. It really was a team effort.

Tom has directed almost all the solo performances I have created. He is an amazing stage director – very organic and communal in his approach to directing. He has an ability to see and bring forth the heart of a story. It was incredibly important to have his storytelling sensibilities on the set, especially since we shot the whole thing in a theatrical context.

Before Prodigal, Tad directed the film version of my Blue Like Jazz//Live project. He is always on the forefront of what is going on with film technology. He also has a great ability to endow a project with a potent visual identity or vibe. Tom, Tad and I had a blast (well, most of the time) bringing this vision to life.

Jason George has got the most unbelievable eye for color and composition. Hence, the stunning look of the Prodigal film. He comes from a film lighting and photography background. I am so grateful that he was able to harmonize the color and texture of the shot with the emotion of the script and action.

CM: Where did you find Michael Janzen, the man responsible for The Prodigal Trilogy’s original score that exudes spot-on timing and all-around excellence? Did you provide a constant instruction and feedback to him during the creative process, or did he work separately on a score that was presented to you as a finished product?

JH: I had been praying about who should be doing the music for Prodigal, and God was frustratingly bringing no one to mind. Then, I happened to be at a baptism service at a friend’s church. I had a busy day and was trying clear my mind and focus on God when I heard the still small voice say, "look up...the guy who’s leading worship is your composer." And who was there but Mike. I had heard he was an incredible musician and composer, but we had only ever briefly met.

After the service, I laid out my vision for the project and asked if he was interested. He was interested until I told him the budget for the music composition and production was only $2,500. We had a good laugh over artists never making any money.

Then, in a subsequent phone conversation I asked him what he thought it would cost to do the composition and production in line with the vision of the film. He thought about $10K. I told him I was happy to pay him the money if God would provide it. Then we made a deal. We would both get off the phone and ask God to provide, and whatever he provided is what Mike would do it for.

That’s what we did, and not ten minutes later I got an email from a donor who said he heard I was doing a film version of The Prodigal Trilogy, and wanted to pay for the sound. He asked, "how much do you need?" and I said, "$10K." He went back to his foundation’s board with the request, and I received a cheque for $10K soon after. God is good.

As far as process goes, I had a very vague notion and idea of what I thought each character’s sound might be like. I conveyed to Mike my thoughts and he would go away and dream up a ton of options. That was our pattern. He would create a series of options. Then we would tone them down to one or two, and the process would happen all over again until the score was built.

We also had a blast recording all the musicians on the project – from working with the string quartet in an old church, to bringing in the soprano Katherine Whyte from New York. Mike is a consummate artist and creative genius. I really loved working with him. In fact, it looks like we may work together again on a feature film that I am developing that will shoot January 2011.

CM: Who was responsible for the lighting, including the brilliant and effective use of shadows?

JH: Jason George for the most part, with some input from the rest of the creative team.

CM: From your point of view, what was it about The Prodigal Trilogy that won it the award for Best Dramatic Short at the 2009 San Antonio Independent Christian Film Festival? Did the award surprise you?

JH: Yes, it totally surprised me - especially because, out of all of the finalists, my clip was the very last to be shown during the awards ceremony. It also surprised me because there were a couple of amazing shorts showcased during the festival that could have easily taken the prize.

I think it might have won for a number of reasons: The film is rooted in a powerful scriptural story, as a piece of cinematic theater it has a unique film identity, it has strong production value, and it looks and sounds beautiful. I also think people really enjoy watching me have a go at transforming into three different characters.

CM: Our company, HOSFU, recently purchased 30 copies of your film to distribute to pastors in Uganda, and you were generous to provide additional copies. Aside from this, has The Prodigal Trilogy been distributed internationally?

JH: Yes, it has been distributed to missionaries all over the world through The Christian and Missionary Alliance denomination in Canada. In fact, Spanish and French subtitles were added to the film so that it could be relevant in communities that spoke those languages around the world. We have also talked about translating it into Mandarin.

CM: Distribution is seen by many as the great mystery of the filmmaking process. How did you maneuver through the distribution process?

JH: I am still maneuvering through it, looking for additional distribution. Part of the Christian arts culture that continues to be cultivated in North America is a culture of "purpose." Art, it seems, needs to be a means to an end. Everything needs a study guide and often, if done right, they can be very helpful. In fact, I am working with an innovative and thoughtful company called BlueFishTV to do just that – merge the art of The Prodigal Trilogy film with spirit-filled teaching and some thought-provoking study questions. It will be out soon.

However, as a stand-alone short film, it has struggled to find wide distribution. This has been a little disappointing as I am a big proponent of beauty for beauty’s sake. There is something breathtaking and awe-inspiring about simply experiencing a powerful piece of art as an end in itself.

I truly hope that The Prodigal Trilogy will continue to find a wider audience. I think it is a story for our time.

CM: How did you become involved in acting? What other projects have you been involved in?

JH: I think my first acting gig was as the sheep in the Grade 1 school Christmas play. My first professional gig came in Grade 11, when I performed the lead in Mississauga City Centre Opera’s, Amahl and the Night Visitors. I think I made $250 for 3 months of rehearsal. Ah, foreshadowing.

After I graduated high school, I did a year of theological study, followed by a four year university degree in acting, graduating with a Bachelor of Fine Arts.

Other than my solo performances - The Prodigal Trilogy, Blue Like Jazz//Live (which I also made into a film), Life of David, Herod the Great, Himself - The Story of A.B. Simpson, and the now retired Jõb Alive.

I have worked in independent film, theater and commercials.

CM: What was the biggest hurdle that you faced during the filmmaking process?

JH: Getting sick! You will never believe this, but right in the middle of the process of making Prodigal, I got flesh-eating disease. Ya, Necrotizing Fachiitus. How is totally a mystery. I was actually working on the editing with Tad when I first felt sick. Two days later, after what I thought was the worst stomach flu ever – think food poisoning x 20, I went into Septic Shock and almost died. They operated and cut out a few bits and pieces.

One week in the ICU hanging by a thread, three weeks total in the hospital, four months of homecare, and about a year of recovery later, I was back to work full-time, performing and finishing the film. God, the prayers of his saints, and the support of my friends and family (my wife is my hero) brought me through the whole ordeal. Watching the completed Prodigal on the big screen the first time meant a whole lot to me.

CM: What was the most significant lesson that God taught you, from a personal standpoint, during the making of The Prodigal Trilogy?

JH: God’s plans are not always my plans. But His plans are ALWAYS good.

CM: What’s next?

JH: I have three things on the burner right now. The first up is a cinematic adaptation of my Christmas monologue, Herod the Great. We shoot late summer/early fall, for release this Christmas 2009. Think Fortune 500 CEO meets Gordon Ramsey. I am currently in pre-production - raising the funds (roughly $65K), building the team, etc.

Then in the winter, I am hoping to shoot a live version of my Life of David performance. And finally, I am also in pre-production for a feature film based on a short story I have written, entitled The Wooden Angel. It is a period piece set in the prairies. We are planning to shoot January 2011, for release Christmas 2011.

CM: How may The Prodigal Trilogy be purchased?

JH: www.JasonHildebrand.com - $20 + postage.

DVD cover artwork by Andrew Kraulis. DVD cover image and photos by Jason George.

The Prodigal Trilogy Accolades

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