After receiving numerous calls, David visits his father to find out why, after 21 years, he’s trying to reach him.
David realizes his anger has prevented a relationship with his father and now time is running out.
Writers: Allen Legacy, Edsson Morales
Director: Allen Legacy
I found Time was an interesting project to work on as it dealt with subject matters that a lot of people could relate to: anger, regret and reconciliation.
To convey the storyline was a challenge.
Edsson Morales and myself had to tell a story in the present but incorporate the past and establish the conflict within the main character, David, all in a short film.
My co-writer Edsson and I struggled with how to do this for a quite a while, meaning we did rewrite after rewrite trying to mix the present and past together.
When we conceived the idea of phone messages and the placing of childhood pictures, our problem was solved. The pictures replaced a lot of dialogue telling instantly what his childhood was like before his mother died, and his father abandoned him. The phone calls allowed us a concept, so to speak, of presenting the persistent desire of his father trying to make contact with David.
Our DOP Andrew Hunter and I instantly knew how we wanted to shoot the film once we had seen the location. We had the idea that once David enters his father’s home there should be a feeling of being boxed in, which the location allowed.
Erica Procunier’s soundtrack added a beautiful synergy to the film and we had decided to use a minimal amount of music.
The story in itself is bittersweet: his father asks for forgiveness, and not to regret the past as he dies, but David is emotionally conflicted since he has let time slip by and not been able to come to a reconciliation with his father.
About Allen Legacy
Since seeing his first theatrical production of Sinbad and the film The Prime of Miss Jean Brodie, Allen Legacy has been fascinated and drawn to the art of storytelling.
He’s spent his career exploring the art of storytelling through theatre and film. A graduate of George Brown College (theatre program), Carnegie School of Dance in NYC and Trebus Institute (film/television production/post production), he also studied dance (tap, jazz, modern dance) with the late Len Gibson and studied theatre with the late Robert Buck at Brian Foley Studios.
Under Robert Buck’s tutelage, Allen was exposed to and studied a wide range of playwrights, forms of theatre and acting techniques. Robert not only developed Allen as an actor, but also trained him to direction, light design, production design, stage movement and voice – all skills that he has found to be very helpful in his work in film.
Allen first pursued an acting career and played such roles as Alan Strang in the critically acclaimed production Equus, Jerry in The Zoo Story, Oswald in Ghost and Christopher Wren in the long-running production of The Mousetrap among other roles, and eventually shifted into directing and writing for theatre.
As a writer, Allen first wrote for the stage, with three plays produced, and it wasn’t until he graduated from Trebas Institute that he began to write for film.
While at Trebus, Allen found editing came to him naturally and soon after graduating he found himself at RogersTV editing the weekly magazine show Urban Aboriginal which was nominated for a Golden Sheaf Award.
Allen also edited the short film Hearne, directed by Virginia Barter, which was accepted by the Lucerne Film Festival and won best picture at The International Student Film Festival.
Since Time, Allen has directed a couple of other short films which are currently being submitted to various festivals.
Allen is also developing a feature film script, a gothic horror called Delirium which has become a labour of love.
Allen looks forward to working more in film, either as an editor or director.