Undercover Lovers: The Shocking Story Behind Sundance’s ‘Plainclothes’!

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Carmen Emmi’s journey in filmmaking is shaping up to be a classic example of a triumph at Sundance – and this success story is unfolding even before the festival has reached its full potential.

Born in Syracuse, New York, Emmi obtained a film degree from USC’s School of Cinematic Arts and then shifted focus towards writing as a means to kick-start his Hollywood career. Inspiration for this change came at an interesting juncture in his life. Emmi, having come out as gay during college, was navigating his personal journey, while simultaneously preparing for his brother’s entrance into the police force.

Later on, a trusted friend disclosed an account about a family member involved in secret investigations in Florida, apprehending homosexual men in a covert operation. Emmi was skeptical at first, but further investigation online revealed additional distressing instances, such as one in Long Beach, California, where authorities targeted gay men for consensual interactions. In 2016, he embarked on writing the script that would eventually evolve into Plainclothes, his inaugural project as both author and director. The movie chronicles a dedicated undercover officer who is tasked with ensnaring and arresting homosexual men, but instead of adhering to orders, he develops feelings for an attractive target and chooses to rebel.

As a filmmaker hailing from Syracuse, I’ve been incredibly fortunate to secure funding, an exceptional team of producers, a stellar cast featuring Tom Blyth and Russell Tovey, and a coveted spot at the 2025 Sundance Film Festival. It’s like living the dreams of every film school graduate! Here, I share my creative journey, revealing the reasons behind our film’s intimate scenes, music selections, and why my hometown (and my farming family) hold such significance for me.

“Being a filmmaker from Syracuse who tells this queer story would have meant so much to me as a kid,” I reflect at 34 years old. “Despite growing up in a conservative area surrounded by farmers, I can now proudly be myself and share that with my family.

Considering your director’s video from Sundance, there was a moment when you nearly shed tears due to the excitement of being accepted into the festival. With just a few days left until the premiere in Park City, how have your feelings evolved since then?

Given the current circumstances, things are challenging. Having spent a considerable amount of time in Los Angeles, a part of me remains there. It’s hard to fully embrace joy when so many are suffering. Today, with the inauguration, regardless of who you supported, it can be a difficult day for some. Yet, this has been a long-held dream of mine ever since I watched Little Miss Sunshine at Carousel Mall with my family. I’ve always yearned to attend Sundance, but I had subconsciously distanced myself from the idea due to fear of disappointment. When I was accepted, it was an unforgettable moment. My family will be joining me, as well as friends from college. It’s a truly unique and exciting experience.

A fun fact in your filmmaker bio jumped out at me: You come from a family of farmers.

Since the 1940s, my family has been engaged in farming. My father started working on the farm when he was just seven years old, and he continues to do so even now. As the eldest grandson in our Italian-American household, I wasn’t pressured into farming but spent a considerable amount of time with my grandfather while he worked. Most of what I know about farming, particularly in the greenhouses, I learned from him. However, my grandfather must have been aware that I didn’t possess a natural green thumb, as he left me in charge of the plants for a week when he went away, and upon his return, I had managed to destroy them. [Laughs.] I am deeply thankful for our family business. My relatives still manage the farm stand, and during the summer months, I return home to contribute my efforts there. Among other tasks, I assist with seeding in the greenhouse, which surprisingly aids my writing process as it provides a calming influence. This is my initial screenplay, and I believe that my upbringing played a significant role in honing its development in various ways.

What type of crops does your family farm produce?

Corn and tomatoes are a significant part of our farming. We begin by sowing seeds for tomatoes, basil, parsley, and all the leafy greens within the greenhouse first, then transfer them outdoors once it gets warm enough. Strawberry season is my favorite; it’s the most uplifting. It’s like Christmas Eve for me, filled with anticipation. I look forward to summer immensely. I feel incredibly fortunate to be able to engage in this work as a filmmaker while still contributing back home. The patrons don’t seem to mind that I’m working on a screenplay or anything else.

Was this your initial script, inspired by a Los Angeles Times article on “an attractive undercover officer” in Long Beach? Did it immediately strike you that you wished to delve further into this topic and develop it into a screenplay?

In 2016, Vincent’s friend’s brother, who happened to be an undercover police officer in Florida, was the subject of a conversation I had with my friend. Initially, I doubted its authenticity, but curiosity led me to explore online resources. That’s when I stumbled upon an intriguing LA Times article. The story was captivating! I reached out to the man who brought a lawsuit against the city of Long Beach and interviewed several officers. Despite my affection for Syracuse, where I grew up, I never felt a sense of belonging. Even in high school theater, my queer identity didn’t seem to have a place. It wasn’t until I was in my twenties that I began acknowledging my sexuality. Coincidentally, this self-discovery coincided with my brother joining the police force and my enrollment in film school. As I delved deeper into the article and its associated research, feelings from my past resurfaced – feelings I couldn’t capture through a photograph. Instead, I found solace in writing, which ultimately led to the creation of the screenplay.

Was the screenplay part of your USC education?

Indeed, my academic background is in film production from USC. While we delved into creating short films, the curriculum didn’t cover writing feature-length scripts extensively. Instead, our education primarily revolved around mastering the craft of filmmaking itself. Subsequently, I honed my screenwriting skills post-film school. Regrettably, pursuing a graduate degree in this area has been a dream of mine, but the cost has been prohibitive.

Did you teach yourself, or lean on any books?

I’ve attempted to learn screenwriting through numerous books, yet it seemed overwhelming for me. To be frank, I found a more effective method by watching movies instead. For instance, Francis Ford Coppola’s “The Conversation” and Darren Aronofsky’s “Black Swan”, written by Mark Heyman, Andres Heinz, and John J. McLaughlin, were particularly helpful for me. Additionally, Steven Spielberg’s 1971 film “Duel” was instrumental in teaching me about the emotional side of structure.

One day, I was reclining on my floor in Brooklyn when I understood that my journey of coming out wasn’t straightforward. Instead, it was disjointed and scattered. This realization sparked an idea for the film: portray Lucas reminiscing about his coming out experience, from the moment he met Andrew up until receiving the letter. I felt that the narrative didn’t have to adhere strictly to a linear progression; it merely needed to resonate emotionally. I perceived my own coming out story as a broken mirror – striking yet complex – and wished for the script to embody this essence.

How long did it to write?

I began my journey back in 2016, primarily focusing on personal growth. At that time, I was freelancing, handling branded content and cinematography assignments. Living expenses in Los Angeles and later New York City required constant work, so I couldn’t afford to take a break for writing. Instead, I managed to fit it in between jobs. It wasn’t until 2018 that I truly started my writing endeavor, completing the initial draft on April 30, 2020. Afterward, I dedicated a year to revising the work and another year attempting to secure funding.

How hard was that process?

As a fortunate individual, my college roommate at USC happened to be dating someone who produces films in the U.K., Arthur Landon, a partner at Lorton Entertainment – a film production company. He’s more than just an acquaintance; he’s a friend. One day, he took a look at one of my early drafts and expressed that if it didn’t get made, it would truly be a pity. At the moment, he was working on two other films, but he encouraged me to continue refining it, assuring me we’d find a way to bring it to life eventually. I initially believed his kind words were mere encouragement, but I persisted with my writing. I wasn’t certain if we’d secure the funding for it, and I was fully prepared to film it using my phone and Hi8 camera. Intrigued by the challenge, I created three proof of concepts to help me figure out how to depict Lucas’s inner mind visually.

After completing the third test, I presented it to Arthur, who had already wrapped up his other projects. Since securing funding was challenging, he ultimately decided to finance it himself. I consider myself quite fortunate in this regard, but the project spanned over three long years.

It seems like your script has been submitted to some contests too, and you’ve received some acknowledgement. Has this brought any benefits for you?

Arthur has consistently been a beacon of faith in my abilities, and I consider myself incredibly fortunate. However, it was beneficial to have others recognize my potential as well. The competitions didn’t necessarily lead me to securing representation, but being among the top 50 at the Academy Nicholl Fellowships was an immense honor. I deeply desired to make it into the top 10, and when I applied for the fourth time, they seemed to say, “No, that’s enough, you’ve had your chances.” [Laughs.]

Let’s discuss the actors, Tom Blyth and Russell Tovey. In the Sundance Festival’s description, senior programmer Basil Tsiokos praises Tom for delivering a “standout performance.” Can you tell us how you managed to secure their roles in the film?

Bernard Telsey helped us select the cast for our film, and we auditioned numerous actors for Lucas’ role. However, it wasn’t easy as Lucas was a blend of me and my brother in essence, making it more challenging. But then Tom crossed our path, and I first encountered him over Zoom. The instant he appeared on screen, I can hardly explain it, but I just felt an undeniable connection. It was his eyes, his training from the Julliard School, and there was a captivating quality about him when he looked up at the camera during our virtual meeting. I sensed there was a compelling story in those eyes.

As a gamer, I checked out his gameplay videos and decided to give the latest Hunger Games movie a shot. Since I hadn’t seen any of the previous films in the franchise, I thought it would be more like a Jumanji-style adventure comedy. Boy, was I wrong! It turned out to be quite dark, but after seeing that film, I knew he had what it takes to pull off something like this. He carried that movie so well that I made a trip up to Calgary where he was shooting Billy the Kid. I didn’t want to cast him just over Zoom, so we scheduled a one-hour meeting, but it ended up lasting five hours! We grabbed coffee, and cast members from Billy the Kid kept popping in. It was clear that they all had a great rapport with each other. He showed true leadership skills, which I knew would be crucial for my first feature film. We even went out until 4 a.m. together, and he walked me to my door. We ended up hugging for a while, and working with him was a dream come true.

Initially, I was skeptical when Russell was cast, given how long I had envisioned this character. You see, the role was somewhat modeled after a man I knew, even down to his profession. Coincidentally, as I started working on this project, it was around the same time “Looking” aired on HBO, and Russell’s co-stars were my idols, with Russell being a particular inspiration.

When April Kelly, my British producer, proposed Russell for the role, I balked at the suggestion. “He’ll never do this,” I thought, “he’s a living legend!” But little did I know that she had already sent him the script and arranged a meeting with me. The moment I heard the news, I nearly choked on my water. It was an instant yes.

As a gamer, let me tell you, Russell and Maria Dizzia are two of the top-tier talents in the acting world today – no ifs, ands, or buts about it. People often say “Don’t meet your heroes,” but those who haven’t crossed paths with these two have clearly never experienced their awesomeness firsthand. Russell is simply remarkable, and Maria Dizzia? She’s an icon.

When I had the chance to chat with her over Zoom, she shared that the script brought The Conversation to mind, and my response was, “You nailed it! You got the part.

In this scenario, Maria delivers an exceptional performance. Here’s a hint without revealing too much: Towards the end of the movie, she is presented with a significant moment that allows her to react to recent events. The intensity of the situation is clearly visible on her face, making it a moving scene. What are we hoping viewers will grasp from her reaction?

I aim for the conclusion to inspire positivity. I hope it comes across as intended. That filming day will always stay with me. My niece was present, a young girl with blond hair who appears at the start of the scene. The atmosphere in the room was palpable. Maria truly enriches our productions. On Instagram, I expressed that she ignites joy in people’s hearts, and she certainly did for us that day.

As a devoted admirer, I can’t help but notice that the intimate scenes between Lucas and Andrew, along with the cruising sequences, appear to serve a purpose beyond mere sensuality. There’s no graphic display or excessive nudity; instead, it’s more about the emotional connection and their interactions. Was this intentional? I’m curious to know how you guided your actors in portraying such nuanced scenes. How did you approach this aspect of the production?

In the movie as well, my father appears, portraying Lucas’s dad. This meant that during some scenes, I had to decide how much of his footage to incorporate. However, there’s a certain allure in holding back sometimes. The pivotal scene where Andrew asks Lucas, “Can I touch you?” is more sensual to me than the car sex scene. Though the actors were open to anything, I’m not the type to demand nudity scenes. My priority was ensuring everyone felt secure. Safety is crucial in a film set. I prepared a comprehensive schedule that I shared with their teams, and most of it was determined by character suitability. Would Lucas be naked in this scene? Would he feel comfortable undressing in a locker room? Tom and I didn’t think so. We were fortunate to collaborate with an intimacy coordinator named Joey Massa, who assisted me in planning those scenes and helped everyone feel at ease.

As a music enthusiast, I’d love to delve into the song selection process for the project. How did you carefully curate the tracks to create such a harmonious soundtrack? What were your strategies in choosing the right tunes that would perfectly complement the overall vibe?

Music played a significant role throughout the production process. Prior to filming, I compiled an extensive playlist that I shared with both cast and crew members. Music served as one of my primary sources of inspiration, especially from artists like Lana Del Rey, R.E.M., and the Cranberries. However, due to our low-budget constraints, it wasn’t feasible to hire those particular musicians for the composition work.

The music supervisor then introduced me to Emily Wells, a talented artist whose work resonated with me greatly. During our meeting, I found her music to be exceptional and it became my go-to during filming. Her compositions naturally guided my approach towards editing. I utilized all of her music as a temporary soundtrack and were fortunate that she owned the rights to her own music.

When Emily saw the film, she expressed interest in scoring it herself. Working with her was an unforgettable experience. She essentially created a custom sound library for our project, incorporating real breath sounds into instruments and using her voice in various parts. The entire process felt incredibly organic, and I hope to collaborate with Emily on future projects as well. She truly is remarkable.

Congratulations on making it into Sundance! Now that you’ve achieved this notable milestone, the natural next inquiry revolves around distribution. Have you presented your work to any distributors so far? Could you share your expectations regarding this aspect?

We’ve been selective about sharing the links and aim for our film to be viewed in a cinema setting by distributors. We conducted numerous test screenings right here in Syracuse, and the overall response indicates that this movie is truly unique and immersive. I believe watching it alone can’t capture the same essence as experiencing it collectively. Our hope is for distributors to attend our screening. I’ve been involved with this project since 2016, and although I don’t want to rush things, my dream is to share our film with a broader audience. The ultimate goal is to let people witness the movie in a theater setting, immersing themselves in the experience.

Interview edited for length and clarity.

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2025-01-26 23:27