Nadia Litz: It’s funny because I think when I first heard about the idea I had immediately rejected it as a possibility for anything I was working on myself. The primary reason was actually because I believe that artists should be paid properly for their work, and obviously you can’t really do that on that small and tight of a budget. HOWEVER, (laughs) my desire to challenge myself won out, and I decided to step outside of my comfort zone in the place where I was with what was going to be my first feature. That won out over my initial rejection of the idea, and so I think a couple of days before I had to pitch I reached out to Philip Riccio, who was the actor, and I approached him before I approached my real life partner Michel Kandinsky, who was my co-director and co-producer. Just over coffee I said that I wanted to see what I can come up with, and in fact I ended up writing more than a pitch. I ended up writing a whole first draft of the script (laughs). I just sat down for like four days and wrote it, and what ended up being fascinating for this thousand dollar experiment was building something that was borne from the constraints of what you have.
In Jefferson Moneo’s debut feature film , Nadia Litz plays Martha, a gun-toting, femme fatale in cowboy boots who’s trying to escape her past. In real life, Litz is an award-winning actor-turned-director in Doc Martens who’s happily in touch with her prairie roots. Litz, however, does share certain qualities with her onscreen character: Both women are tenacious, clever and have figured out how to make it in worlds where the odds are often stacked against them.
It was a curious combination of enforced limitations and percolating ideas that led to the creation of Canadian filmmaker Nadia Litz’s thoughtful, and as it were resilient