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Annabelle Dexter-Jones’ CECILE ON THE PHONE is described in the Sundance Program Guide as: “Overwhelmed by doubt and confusion after her ex-boyfriend’s return to New York, Cecile embarks on a series of telephone conversations that serve only to distract her from the one conversation she really needs to have.” It is clever and well shot.

  1. What came first: The idea for the film’s story or the idea of how you wanted to film the story?

It’s hard to separate the two… I think they work simultaneously.


  1. In a way, would this qualify as a period piece since your character uses a landline?

Something about a landline felt indulgent to me, so it seemed appropriate that Cecile would use one. And we know she loves to hang onto the past…


  1. The film was shot on 16mm. What, besides, the cool, timeless look and feel of the film was great about that? And what was a production pain-in-the-ass about it?

I think that film tends to be more emotional but it’s also more expensive so you have to be economic with takes which is very good kind of challenge. And we had terrible monitor that seldom worked which forced me to have more faith and trust in what we were doing.


  1. Getting and affording the rights to good music in possibly a bigger nightmare than Cecile’s herpes. How much of a sweet relief was it that you just happened to have a connection to this Mark Ronson guy and that he likely owed you big time for something that happened when you were kids growing up together since he’s your brother?

Very much.


  1. Sprint or Verizon?



  1. Where do you keep your Gen Art Film Festival Rising Star Award?

My mom has it. 


  1. I know this isn’t on the phone, but I’ll ask you what Cecile is asked and seems to be torturing herself over: What do you really need to say?

I’d tell you but then I’d have to kill you.


  1. Popcorn or Candy?


CECILE ON THE PHONE screened as part of Shorts Program 4 on Saturday 1/21, Sunday 1/22, Tuesday 1/24, and Thursday 1/26. Go to for more information.