I sometimes warn the people I’m interviewing that I have a tendency to read way too much into things. When I did that before starting my phone conversation with Catherine Easton and Teddy Sears on March 3, 2017 about their film, THE SOUNDING, they both assured me that everything I read into the film was all intentional.
There’s nothing like validation.
The two were in San Jose for the world premiere of THE SOUNDING a project that went through several iterations, including a stage play and a film short about the main character, Liv, a woman who has chosen not to speak, and the doctor, played by Sears, who tries to understand. The two had a delightfully playful rapport talking about such things as Sears’ pursuit of his role, and the pleasures and perils of filming near the ocean.
We went on to talk about Eaton’s Buddhist inspiration; deeper levels of communication; trusting the material; labels as both fear and as identity; geeky technical issues, and a lively discussion of who got more takes from first-time director Eaton.
THE SOUNDING is a film about silence, meaning, and the mystery of communication. It is a story that questions labels as it considers the consequences of otherness, and the power of a woman’s voice. The film co-stars Harris Yulin, and Frankie Faison. Eaton directed from a script she co-wrote with Bryan Delaney, based on the stage play and short film. Eaton’s previous work includes stints on television’s ALL MY CHILDREN, and PERSON OF INTEREST, and she is a freelance producer for Madison Square Garden. She shared an Emmy Award with the team behind Bloomberg Television’s investigative report, “Deadly Brew: The Human Toll of Ethanol.” On television, Sears’ has been Zoom on THE FLASH, Dr. Austin Langham on MASTERS OF SEX, the Blue-Eyed Man on TORCHWOOD, Blind Justice on the The David Letterman Show, and is currently going without sleep as Keith Mullins on 24: LEGACY.
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