Austin Film Festival Conversations: Tyler Martin, Writer/Director/Star of ‘Candice’

Candice is a powerful short film that recently screened at the Austin Film Festival, about the importance of being in touch with one’s emotions. And we here at NTG were fortunate enough to sit down with the film’s writer, director and star, Tyler Martin, to discuss the genesis of this amazing feature.  
 
John Betancourt: What inspired you to write Candice?
 
Tyler Martin: Yeah, I really wanted to explore the idea of intimacy in a very visceral way. I knew the cast going into it, I knew it was gonna be myself and my, my co-lead David Gow. And I thought it'd be really fascinating to explore intimacy between two males on screen that was not sexual in any way, or the butt of the joke. And to play it very authentically. And really, the reason for that is to showcase the hurdles that we face with intimacy, and what stands in our way from connecting to someone else.
 
John Betancourt: Why do you think it's so important now more than ever, to showcase that, because it does feel like your film is part of a poignant conversation that's starting to begin?
 
Tyler Martin: I think that when we look at our, our country, and the world of what issues we're facing right now, a lot of that stems from patriarchy, of course, and then you know, what is… what is patriarchy, then you have to break that down, right? Then we get to misogyny, okay, what is that, break that down, and then we get to homophobia, then we break it down, then we get to transphobia. Break that down. And so, it's like, all these things didn't stem from that place. But if we kind of work our way back up, I always say I'm queer myself. And I don't think of this as like a queer film really, in any way. But I always think… and I've had this conversation many times… that really for homophobia to go away, we have to actually tackle misogyny, because all the homophobia is misogyny put on to the queer community, right? And so, it stems from that we think of feminine, quote, unquote, as lesser than, that we think of access to emotion as lesser than, so if we kind of handle all of that, then it really, I mean, if we were to face vulnerability in this kind of a way, it would clear up so much of our issues. I'm sure there would be other issues, we start to find that we have, but it would clear up those.
 
John Betancourt: I agree. I didn’t see it as queer film either. More so perhaps the first time where we actually see men being in touch with their emotions, which equally a new frontier, apparently, which it shouldn't be. So, to further dive into that, why do you think it's so important that we start having that conversation now and showcasing that for men that it's okay to be intimate?
 
Tyler Martin: I mean, you're denying yourself a human experience. Right now, in this conversation of AI taking over, we're so concerned about AI and taking away the human experience, right? But I find that kind of laughable because of where we are as a society, where we, just because I identify as a male, I can't cry, I can't laugh at a certain thing. I can't touch someone else in a certain way. Because that makes me less of a man or whatever. And what is that? That's denying humans being human? You know, like, that's just like, basic, human 101. So, I think, I think right now, it's, it's an interesting time to, to look at, especially with so much going on in the world right now, to look at ourselves, and just to have some inner dialogue with ourselves of maybe why we're insecure. Because usually it comes from insecurity, right? And so why are we insecure? What are we holding on to? What baggage are we holding on to? And I think in the film, specifically, we see that these two people have been holding on to traumatic experiences and grief and loss and, and these are the things that have have built up walls in their lives. And, and we see them you know, slowly, slowly break those down a little bit as it goes along. And I mean, isn’t that relatable, like, don't we all kind of have baggage and trauma and things in our lives for good reason, sometimes for safety, but also, we need to know when to take down the safety and to allow someone in.
 
John Betancourt: That was another thing that really impressed me about the film, was that it also leaned into trauma and loss. Because we don't talk enough about the impact of that on people either. And that leads me to wonder, it seems like what you really wanted to accomplish was a deep understanding of what wounds us and what shields us. Was there any other message you would say that the film wants to express past that point or is that pretty much, just… this is the core, this is what we need to do to release.
 
Tyler Martin: That’s the core of it. I'd say it does get into, like you said, trauma and grief and a longing for, for connection in a way that is touch but also emotional. Looking toward the future, but in looking toward the future, looking to the past, you know, there's so much of just the experiencing of grief and loss and, and those kinds of things. But yes, at the core of it, I think connection is where I hope it lands. And it starts conversation for people just to kind of chat about why they're having problems maybe with those things.
 
John Betancourt: Ultimately, what do you hope audiences take away from this?
 
Tyler Martin: I am so over seeing films that are just sad. I am so over it. I don't understand who that is for, I don't understand who finds that helpful or inspiring. I don't… I just don't understand that. So, I think within Candice, it was really important to me to show some comedy in it. There's some comedic elements in the beginning. And something important to me that I wanted to, I mean, when you are presenting trauma to an audience, when you're presenting grief in this kind of way, I think it's almost the responsibility of the writer to present a way forward. Because otherwise, you're just presenting a hole for someone to sit in and wallow, which is just so unhelpful for an audience. So, I think, what is movement towards something, what is something that can push through, but then also conversation that is really ultimately what I want from this film is to create conversation. But if you are in a hole by yourself out of just despair after watching something, well, you're not going to be talking to anyone about that. But what is helpful is to have something that has forward momentum. And that way you can talk about that, it can inspire conversation and inspire movement in your own life, I guess.
 
John Betancourt:  With that in mind, now I have to go a little deeper on this part. A lot of times I find when films are this intimate, emotionally, there's a catalyst point from the writer’s perspective that really made them want to talk about this. Was there something that you encountered that inspired you to wrtie this story? Or was it really just a general noticing, like, people are just not in touch with what they feel.
 
Tyler Martin: So right before I wrote this, I was working on, I just did a stage reading on my play, Bonded, in New York, which revolves around trauma bonding, which is very much in this film, Candice. And that's definitely where my brain was at the time of writing Candice. I worked with this organization called Men Healing, I partnered with them to do the reading in New York. They're an organization that revolves around getting resources to sexual assault victims that specifically identify as male. And I worked with them a lot gearing up for that project, and even after I've continued to, to work with them some, and so being in a space of just being aware of how much people do not talk about male intimacy in a positive or negative way, was very on my mind. So, kind of coming from that perspective, especially talking with so many survivors. Touch can feel so intense, and intensely negative, for various reasons for baggage that we have, in the past. And, you know, a handshake can mean something completely different to two people. A hug can mean something completely different to two people, it's all the baggage that they're bringing into it, a kiss can mean something completely different. And, and so I thought it would be really interesting to showcase touch in a way that, again, was not sexual, but still allowed someone to connect through it and coming from working with sexual assault victims and talking in that sphere. That was just something really important to me that I want to explore.
 
John Betancourt: Now shifting gears a bit more so to the festival itself. What has it meant to you now to have put this out in front of so many people? And have them see it? And experience it?
 
Tyler Martin: It’s been so great. There's been… I mean, speaking to the other question you asked earlier, conversation is such a major part of what I wanted to come from this. So, what's been so beautiful is after screenings, people coming to me and sharing their stories, how it affected them emotionally and what it brought up for them, whether it is something negative in their past, something positive, that they're looking forward to, reconnecting with someone that they lost, touch with, you know, like, all these things. And that's been very, very special to me. And being in Austin, I'm from Texas, originally, we filmed in Houston. So, my creative partner, David Gow, who is in it with me, he's from Houston. And so, we had, you know, more resources in Houston to play around with and so we decided to film it there. And it feels extra special to be here and to be amongst these really incredible works. And yeah, it's been wonderful.
 
John Betancourt: What's next for the film after the Austin Film Festival?
 
Tyler Martin: We have a few festivals coming up. Unfortunately, I can't quite announce them yet. But just keep a lookout, and we will be at more festivals. And I'm also working on a feature version of Candice right now. I cannot tell you how excited I am about it.
 
John Betancourt: I see it and I hear your voice. And speaking of that, what did you enjoy the most about working on this?
 
Tyler Martin: Oh, what a good question. What a good question. Wearing so many hats, I feel like I have different answers for each one of them. Like, as a writer, it was cathartic to explore these topics, and especially coming from that play that was… it's heavier than Candice. So, I also wanted something, that's also hopeful, though, I will say… but Candice is just in a more hopeful light maybe, and I felt I needed some closure in some in some ways, I felt like I got it through the writing process of Candice. And then through the acting process of finding this character that I am so in love with like, I just love him so much, I care so much about him. I feel very vulnerable and fragile with him, and I want to give him more, I want to give him more. And I also feel the same about the other character, I want to give him more. So that was really exciting. To be able to work on it as an actor and then as a director. I love… I love directing and getting to especially take it from the writing process to just… showing the full story and all the details in that set. Like, I'm a geek when it comes to details and that RV, down to the holes in my character’s socks, like there are details throughout that entire thing that probably no one will ever notice. But it was just such a fun process to create this world that felt so real for all of us, in those days of filming. Yeah, I mean, I could go on and those are some of my highlights.
 
John Betancourt: The last question that I have for you today is What are you most proud of when it comes to this project?
 
Tyler Martin: I'd say the conversation, that'd be it. That’s been something really special to me is that people feel that they can share and that they have access to maybe certain emotions or sensations that they didn't quite have language for, or movement for. And to be like, even the tiniest part of that process and journey for people is very special to me. And I like take that responsibility, responsibility very seriously and I am very proud of that. I'm very, very proud of that and they get excited for it.
 
This interview has been lightly edited and condensed for clarity.
​

---