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Filmmaker Ian Ebright teams up with stars Patrick Fabian, Diana Coconubo, and Kailey Rhodes to bring The Way We Speak to life, a thought-provoking exploration of language, identity, and connection.

With Ebright’s signature storytelling style at the helm, the film delves into the nuanced power of communication and the ways it shapes our relationships and sense of self. Patrick Fabian delivers a layered performance, while Diana Coconubo and Kailey Rhodes shine in their roles, each contributing to the emotional depth and dynamic energy that drives the film forward. Together, this talented creative team crafts a narrative that resonates on both personal and universal levels.

Pop Culturalist was lucky enough to speak with Ian, Patrick, Diana, and Kailey about the film.

PC: Ian, there are so many incredible performances across the board. Before heading into filming, you had conversations with each of your actors on Zoom. How did those discussions influence and impact these characters? As a writer-director, how did you create the space for them to take ownership and explore such vulnerable places?
Ian: That’s a great question. We did meet on Zoom. There are things you never have time to fully uncover in the audition process—you’re only auditioning their talent. But when you’re lucky enough to find that personal connection, as many of us in the principal cast had, it adds to the intangible elements that create vulnerability. I know it sounds cliché, but we had this family-like atmosphere that made it feel safe to challenge and ask questions. They’re not only talented but also insightful, and they pushed back on me in meaningful ways. I’m a big believer in the idea that it’s either pain now or pain later. I’d rather face it in the moment—tweak a scene and eat a slice of humble pie—than deal with the long-term regret of, “If we didn’t fix that, this project would have suffered forever.”

It’s a big question, but we were able to hold those Zoom meetings beforehand. Since it’s an indie film, there’s never enough time, and we had to work with a fire under our feet—go, go, go. That urgency brought out everyone’s A-game. The actors weren’t just clued into their characters on a personal level—the three of them understood their characters better than I did as the writer. They were also willing to speak up, saying, “If this is true to my character, which I’m following, we’re missing a key step in this scene.” Trusting that they knew their characters better than I did led to those fully fleshed-out performances.

PC: Patrick, Simon is a character with so many contrasting qualities. You did a fantastic job bringing all of those different nuances to life. As an actor, how did you find your way into this character?
Patrick: First off, thank you so much. I have to tip my hat to the writer—that’s what excited me about the project to begin with. The writing isn’t like a lot of things you normally see. I remember sitting down for the table read, feeling as excited as I would on the first day of school. Hearing Diana and Kailey speak the dialogue, rather than just imagining it in my head, got me really pumped. They’re such great collaborators.

A lot of my “work” comes from reacting to whoever is on the other side of the dialogue. These ladies gave such wonderful performances. They would throw amazing “balls” at me, both verbally and with their expressions. It hits you in unexpected ways and can even throw you off balance, which is the best part of acting, right? I might think I know what the scene is about, that it’s all about me, my face, and the words I’m saying—but then you get into it, and it turns out it’s not just that. They have their own ideas about what’s happening, and so does Ian. Through that amazing collaborative process, we were able to explore and bring out so many great elements. What you’re responding to, and I know it sounds cliché, is really the collaborative effort. My work was done 60% by the people on the other side of the dialogue, so I’m grateful to them for that.

PC: Kailey and Diana, there’s such a groundedness you each brought to your performances. These were two roles that Ian had trouble casting because many actors were playing into different tropes. For each of you, what was your character exploration process like in finding the core of who these women are? What was it about your respective characters that resonated with you?
Diana: I’ll be very honest with you. I got the script and had, what was it, Ian? Maybe twenty-four hours before the first audition? I was in New Hampshire at the time. I remember thinking, “Every time I go back home to be with my family, I get an audition.” My mom was like, “Go to Target and get that Ring light.” It was all very improvised. Maybe a day or two later, I got the callback, and then I was in Portland twenty days later. It all happened very quickly.

For me, the prep and process involved finding the connective tissue of this character and her circumstances. It was about understanding her interpersonal relationship with her significant other, her career, and then layering in themes like cancer, death, and competition.

After watching the film, I realized that Claire and I are similar in that Claire doesn’t want to be the center of attention. She’s deeply committed to her field, and the accolades, attention, and success came because she was so focused on her work. Meanwhile, Simon, and I would argue Sarah too, are more actively seeking fame. It’s different. Personally, I’m slightly introverted and quiet, which lent itself to the performance because Claire has this sense of regality, something Ian and I discussed a lot. Having a director with a clear vision and great communication made a huge difference. We had a lot of dialogue about it.

Kailey: I want to make it very clear that collaboration only happens when the person in power, especially a man in power, allows it to. We can all try, but if Ian hadn’t been willing, flexible, and truly open to pushback—without reacting like, “You hurt my feelings, and I’ll make sure you feel that later”—this collaboration wouldn’t have happened. Unfortunately, that openness is rare. But for this film, I felt fiercely protective of Sarah. I didn’t want her to become a caricature of Christian stereotypes. Pretending that all Christian women, young women, and authors are a monolith is a big trap. I wanted to represent her, flaws and all.

As for me coming to set, I was across from Patrick from Better Call Saul, which I’m just now watching. Thank God I didn’t watch it before, because I did a movie with him! The more I see him removed from this project, the more fan-girly and weird I get. [laughs] I’ll say that part of my process was trying to ignore the fame of my co-star for as long as possible. Watching Diana work on camera was so instructive too—there’s this understated effortlessness in her performance that was really inspiring.

PC: Ian, art has the ability to heal. Simon’s final monologue is so beautifully written, expressing grief and the impact of loss. I know you went back and edited it when you revisited the script. Can you talk a bit about revisiting that scene and how it evolved?
Ian: My dad was Washington State’s first transplant patient when I was ten, and he was sick for most of my life. In 2017, I knew I was writing about grief, but I had no idea that in the following years, both my dad, my only sibling, and my mom would all pass away, one after the other. At the same time, I was working on a short film and dealing with the collective grief we were all experiencing during COVID—a time that was chaotic for everyone, but on a different level for my family.

I remember reading through the script, unsure of what to change until I reached Simon’s monologue at the end. When I first wrote it, I was addressing grief, but I hadn’t lived through such intense loss. By the time I revisited the script, I had. Simon’s monologue expresses that time moves on, even though you’ve lost someone. In my younger state, I thought grieving was like replaying home movies in your mind. But after my experience, it became much more nuanced. Grief, for me, was about the connection you had with that person—it’s as unique as each individual’s personality. I hadn’t heard that articulated before. My parents would say, “Love them while they’re here because one day they’ll be gone,” but the deeper, more personal sentiment was missing. I felt the need to capture that, partly for myself, but also because I thought it capped the story perfectly.

Simon has plenty of opportunities to make a fool of himself throughout the film, but I believe that audiences should decide what the film means to them by the end. Both Simon and Sarah begin to heal because they start listening to others. Simon may not have earned it, but it felt right for his character arc that he could share something so vulnerable and not feel ashamed of it later. We really wanted to ground that moment in authenticity, and I felt it was something I could share from personal experience. It was a sentiment I hadn’t read or heard expressed quite like that before.

PC: Thank you for sharing that. I feel like that scene will hit so many people at their core. Patrick, you’ve worked on projects of all sizes. What is it about independent filmmaking that excites you as a creative and a storyteller?
Patrick: The script. I had the chance to read it, and after thirty years of reading scripts, you get used to certain types of stories. I made my bones in hour-long dramas and sitcoms, and they all have a particular rhythm. When you come across a script that’s trying to say something, it stands out. I remember telling Ian in our first conversation, “I’m not exactly sure what you’re trying to say, but I know you’re saying something, and I’d love to help illuminate that.” I’m drawn to people who create from the heart, especially in this day and age—that’s what attracts me.

In terms of projects—big or small—I love the collaborative aspect. I’ve been hooked on it ever since I played the Nina in The Nina, Santa Maria, and Pinta in second grade. [laughs] I thought, “We’re all three ships of Columbus!” That feeling of “let’s put on a show” has never left me. Ian had that same mentality: “Let’s put on a show.” I’d never been to Portland or worked with Diana or Kailey before, which was both exciting and nerve-wracking. It’s always that feeling of, “Do they know what they’re doing? Do I know what I’m doing? What are we doing here?” There’s this collective nervousness. That’s why I keep coming back to that table read. It’s that moment when everyone drops anchor and thinks, “Okay, we’re in the same boat. I can do this with them. Let’s see where it takes us.”

This is the old man in me speaking, but after doing this for years, sometimes everything looks great on paper, and you have a great time making it, but then the final result is a disaster. You’re left wondering, “What happened?” You never really know going into it. But when you’re working with someone who has passion and ideas, you can anchor to that. I’m willing to take that journey, regardless of the outcome. More often than not, because I’m so focused on my own part, I don’t see the bigger picture until later. Then, when I finally do, I’m like, “I didn’t realize that was missing, but now it makes sense.” And it’s nice to be part of that discovery.

PC: Diana, this is your first leading role in a feature film—congratulations, by the way! What was the most surprising part of this experience for you, and what would you say was your biggest takeaway?
Diana: Thanks so much! Everything happened so quickly and marked many “firsts” for me: my first time being on location for more than a few days, my first visit to Portland, my first leading role as an exceptionally intelligent woman with a terminal illness, and my first month away from my dog, who stayed with my folks in New Hampshire!

Looking back, what stands out the most is the professionalism of the entire team. From Ian Ebright, our fearless director, who led with such humility and thoughtfulness, to A.J. Marson and the brilliant camera crew (special shoutout to Candace and Julie), and the incredible makeup and wardrobe team (Maggie & Erin)—everyone was so prepared and supportive.

My biggest takeaway is that filmmaking is truly a team effort; we’re only as good as the collective. In a world that often celebrates individual achievement, it’s important to remember that a film’s success is the result of every single person’s contributions and hard work.

PC: Kailey, I feel like there are so many interesting parallels between this film and your impressive theater background—especially with how Ian writes in acts, the ability to rehearse, and having a clear sense of where your character begins and ends. How has your stage experience informed your work in The Way We Speak? How valuable was that rehearsal time in building the trust between the characters, particularly between Sarah and Simon, as the debate escalates?
Kailey: You don’t become a stage actor unless you learn to love the rehearsal process, which is often longer than the performance period itself. But with an eighteen-day indie film, rehearsal time is limited and precious, and sometimes it’s just used to get the lighting right or the shot aligned. When we would roll camera without rehearsal, it allowed us to capture real, in-the-moment reactions, which is something you can’t really do in theater. I actually loved the immediacy of it.

For Sarah and Simon’s debates—essentially a series of monologues they’ve both prepared—it was interesting to balance that level of preparedness. Sarah, in particular, is supposed to be over-rehearsed for these speeches, because as we know from watching debates, it’s not about truly listening to each other.

Make sure to follow Ian (Instagram), Patrick (Instagram), Diana (Instagram), and Kailey (Instagram). The Way We Speak is available wherever you stream movies.