Ryan Rojas

Karim Shaaban Slows Down to Stay Present

The film industry can be a demanding place to work. Nobody knows this better than Karim Shaaban, a filmmaker who took stock of his life when he could not be present for the passing of a family member due to his commitment to being on a film set. Karim grapples with themes of responsibility, loss, and emotional detachment in our fast-paced world in his poignant new short film, I Don't Care if the World Collapses Collapses.

"I hope it prompts viewers to reflect on how the pace of life can lead us to sacrifice what’s truly important and real and to recognize the need to stay aware and connected to ourselves along the way," he wisely states. In our exclusive interview, Shaaban reflects on the creative journey of making his film, the challenges of indie filmmaking, and how this project has reshaped his life and career.

 

It’s nice to meet you, Karim! You’ve mentioned that you were inspired to create your new short film, I Don’t Care if the World Collapses, after harrowing experiences over your on-set dealing with similar circumstances of prioritizing health. Given its personal and intense nature, can you elaborate on your emotional journey while developing this short film?

Karim Shaaban: It’s a pleasure to talk with you, Ryan. The emotional journey behind creating I Don’t Care if the World Collapses was intense. Initially, I questioned whether pursuing this story was the right decision, especially at this career stage. At that time, I was already deep in prep for another project, which eventually got canceled in 2023. Once I decided to dive fully into this film, everything started to fall into place, almost like a dream.

From the first call, everyone I contacted was enthusiastic and eager to participate. There was this shared excitement and mutual respect, and everything seemed to move seamlessly. After completing the film and having screened it twice, I realize this project has become a turning point in my life and career.

I’ve gone on a reflective journey through making and sharing this film. It’s made me look closer at myself—what kind of stories I want to tell and what draws me to filmmaking. In many ways, this project felt like a mirror, opening me up to deeper connections and trust, both personally and creatively.

 

 

Can you discuss the main themes you wanted to explore in this film?

Karim Shaaban: The main themes I wanted to explore in this film are responsibility, loss, and the emotional detachment we all develop because of how our lives are structured. I wanted to examine the modern human being—someone willing to push their emotions aside and keep moving forward, creating products and achievements that ultimately feel meaningless. It’s about feeding into a machine that doesn’t care about the person behind it.

Instead of just observing this disconnect, the film places the audience directly in that experience—forcing them to confront the emotional void we create when we prioritize this endless cycle of productivity over genuine human connection. It’s not about showing what happens but rather making the viewer feel the weight of that choice.

 

Your statement critiques the capitalistic world and its detachment from personal realities. How did you integrate this critique into the film’s dialogue, characters, and plot?

Karim Shaaban: This critique is embedded in how the story is portrayed and how it shifts the narrative around these moments. Often, these situations are celebrated as signs of dedication, commitment, and professionalism—where people are proud of pushing their emotional and mental state aside to give work all the power and space it demands. But through this film, I wanted to challenge that perception.

As for the dialogue, characters, and plot, I think Wael Hamdy, who worked closely on those aspects, can speak more deeply about it. From my perspective, though, the characters themselves are reflections of this critique. Take Magdy, the production manager in the film, who says he’s holding onto his position with all his strength, unable to risk it for anyone or anything. This mirrors how so many people navigate our modern world—working tirelessly to stay in place, willing to sacrifice more and more to keep moving forward. But often, the small sacrifices we make, the ones we don’t even notice, can grow over time and ultimately reshape who we are. That’s the unsettling reality I wanted to capture.

 

 

How did you approach directing the scene where Farouk receives the disturbing phone call? What was your vision for this pivotal moment?

Karim Shaaban: For that scene where Farouk receives the disturbing phone call, my vision was to create a sense of harmony first—a moment where everything feels calm and flowing. I wanted the director on set to be happy, guiding the young girl and the actor to enjoy the moment fully. Then, with the unexpected call, that harmony shatters. I wanted to capture that shift gradually, showing the whole set as the mood changes, focusing on the eye contact between the crew as they silently ask, What’s happening? What do we do now?

But honestly, watching Emad Rashad perform this scene on set was breathtaking. We were all in awe of his presence—this legend truly delivered. At first, I was stunned, and even though I felt I should adjust something and reshoot, I hesitated to ask him to do it again. It felt like a perfect moment, and part of me was embarrassed to disrupt that. After consulting with Beshoy Rosefelt, our DoP, he encouraged me to ask Emad and let him decide. To my relief, Emad agreed, and he performed it precisely as he had the first time—just as powerful. In the end, I couldn’t resist using the first take when it came to editing. It felt so natural in the moment, and I knew it captured the raw emotion we all felt on set.

 

What was your process for casting the roles of Loubna and Farouk? How did you find actors who could convey the urgency and emotional stakes of the story?

Karim Shaaban: For Loubna, I had been following Salma Abu Deif’s work for quite some time, admiring her growth as an actress. Her development was impressive, and I always knew I wanted to work with her someday. In 2023, she starred in the Ramadan series Al Imam, and there was a particular scene where she was alone, navigating a complex emotional moment. I paused at that scene because her performance was so raw and genuine—wholly unfiltered and natural. At that moment, I knew Salma was the perfect choice for Loubna. Even if it didn’t work out for this short, I wanted to collaborate with her on another project.

For Emad Rashad, who plays Farouk, he came highly recommended by Wael Hamdy. Emad is a legend in his own right, primarily known for his work in the 80s and 90s, and with his theatrical background, he’s truly a master of the craft. When we first met, he told me the story reminded him of his best friend, the legendary Farouk El Fishawy, who had passed away. That personal connection made his portrayal of Farouk even more powerful, adding an emotional depth that brought the role to life.

 

 

Were any scenes or elements of the film that were particularly challenging to shoot or edit? How did you overcome these challenges?

Karim Shaaban: The whole film challenged me because I only had the budget for three shooting days, which I funded entirely from my savings. There was no extra money for additional hours, so part of me was terrified that we might not finish everything in time. I vividly remember the first shooting day—we spent around seven hours on a single scene. It was a deceptively complex scene because, while it was technically one scene, the blocking and movement made it feel like we were shooting three different ones. That day, I seriously doubted whether we could complete everything as planned.

But somehow, we made it work. I had to trust the process, enjoy it, and let things flow naturally. Ultimately, everything came together even better than I could have hoped. It was about letting go of the pressure and allowing the film to take its shape.

 

How did the constraints of an indie budget influence the production decisions and overall approach to making this film?

Karim Shaaban: I didn’t approach this project with the typical indie film production mindset or market in mind. I had complete freedom in decision-making and never viewed the project with any hard limits or budget caps. I focused on bringing my vision and story to life and wanted to craft every detail with dedication and love.

Of course, I had a budget in mind, and we did our best to stick to it, but in the end, we exceeded what we planned. Whenever something unexpected required more resources, I was ready to invest further. I poured a year’s worth of commercial work into this project, which brought me happiness and freedom. My goal was always to serve the story, and by the end, I felt there was nothing more I could’ve done—it was all on the screen.

 

 

How does your experience with this short film reflect the broader challenges and opportunities in the indie film industry, and what advice would you give aspiring indie filmmakers?

Karim Shaaban: My experience with this short film led to profound realizations about myself and the industry. As filmmakers, we often push ourselves by this need to impress, to show the world how exceptional we are—constantly seeking new ideas, fresh visuals, and ways to stand out. While that pursuit is noble and worth chasing, the process becomes more personal. I’ve come to see that art is really about the self. It’s a medium for communication and connection. We’re meant to be present in what we create, allowing ourselves to be vulnerable and creating spaces for dialogue, growth, and reflection. It’s about learning more about ourselves and each other and building towards a more peaceful future.

For aspiring indie filmmakers, my advice is simple: be yourselves. Don’t be afraid to lean into stereotypes or preconceived notions; open your hearts and create with love and enjoyment. That’s where originality truly comes from. I’m curious about you, your story, and how you bring it to life because it comes from a place you can access. The idea and execution reflect who you are, so stay present and entirely exist within the process. That’s where the magic happens.

 

What do you hope audiences take away from this short film, especially regarding the characters’ experiences and the overall narrative?

Karim Shaaban: I see this short film as part of a more extensive dialogue—actually, I think all films are. They’re like condensed conversations crafted with intention and purpose, where we spend months or even years preparing our side of the discussion. Then, the audience’s side of the conversation begins when the film ends. That’s what I’m hoping for with this film.

I want it to lead to serious discussions about right and wrong and how to ensure our emotional and mental well-being throughout life. I hope it prompts viewers to reflect on how the pace of life can push us into sacrificing what’s fundamental and recognize the need to stay aware and connected to ourselves along the way.

 

---

by Ryan Rojas

Kevin Schreck Charts New Waters And Life Adventures

"I sincerely think that the science conducted on this voyage by these dedicated people has as much aesthetic and cultural significance as painting a mural, composing a symphony, or making a film." These are the words from Kevin Schreck, the daring filmmaker who transformed a challenging Antarctic expedition into a cinematic marvel with his new film Antarctic Voyage. With this unique project, which shines a spotlight on the stark and breathtaking landscapes of South Georgia, Kevin shows the beauty of a world that is slowly disappearing due to climate change.

In our exclusive interview, Kevin shares how receiving a grant from the National Science Foundation gave him this incredible opportunity to make his film. Discover how he navigated the icy expanses of the Antarctic and crafted a film that not only explores environmental themes but also pays homage to the grand tradition of nature documentaries.

 

 

How did receiving funding from the National Science Foundation shape your approach to this project and its scope?

Samantha Monier and her fellow scientists were applying for a grant from the National Science Foundation. Like many applicants, they were rejected by the NSF, twice. But the NSF did say that if there was a way to get the message out to the general public about what this research was for and why it mattered, then they might be inclined to fund this expedition. It was Sam who came up with the idea of hiring a filmmaker to document the process and to release a film about their research around South Georgia. I was lucky enough to be their first choice, and I jumped at the chance for this dream opportunity.  

 

Kevin, you mentioned that as a child, you were hugely inspired by figures like Sir David Attenborough, Jane Goodall, and Carl Sagan. What aspects of their storytelling techniques did you incorporate into your own work on this documentary?

I realized in college that the reason why I was so fascinated by science and nature was because of great science communicators and naturalists like them and others. They could help even young children understand large, abstract concepts about conservation or the cosmos or deep time. I had to make sure that this information in my movie was accessible to everyone who might be watching it, without dumbing it down and feeling like we were oversimplifying anything. Part of that was through capturing the enormous scope and vastness of that landscape, to give it that epic tone. 

Another ingredient in that process was to make sure the narration screenplay that Sam would read was not too didactic or too esoteric. I wanted to make sure that even a kindergartener could understand the movie, and, even more importantly, be excited by the movie, without alienating or losing the adults. It’s not really a movie made for kids, but I think it aims to capture that inner child in all of us that wants to be awestruck by the natural world. People like Attenborough, Goodall, and Sagan were champions of that: explaining big concepts in digestible, accessible, and enthralling communication and visuals. I hope I succeeded in being part of that legacy which inspired me long ago in some small way.

 

 

Can you tell us more about Dr. Samantha Monier and what drew you to feature her in this documentary?

Sam and I were friends back in college, and became even closer after graduation. I always knew that she had an interest in the performing arts, which meant that she wasn’t camera-shy or nervous around a microphone. She’s a great science communicator, and an educator, herself. With that charisma, she was a natural fit to be a human anchor in this story. There are a lot of themes that the film explores, and no singular, Hollywood-style, three-act narrative structure. So I think Sam helps tie things together elegantly, bringing a charismatic presence that warmly invites the audience into this adventure.

 

Antarctic Voyage intertwines elements of a modern-day adventure film with the poetic beauty of a visual tone poem. Can you elaborate on your creative process for crafting this distinctive approach?

It was more of a byproduct of how we were filming than anything else. I don’t really study other films when I’m prepping for or in production on a movie, or even when I’m editing. It’s only toward the end of post-production that I start to notice what might have inspired me in the past and made this movie what it is. The adventure film elements definitely come from the fact that this is an exciting expedition to a part of the Earth’s surface that few have visited. But the visual tone poem qualities are more elusive, and less intentional. This movie doesn’t have a conventional, Hollywood narrative, so I wound up capturing a series of feelings and moments that, when stitched together, form a semblance of what it was like to be down on that ship. 

As a result, it’s a bit more avant-garde than the usual nature documentary, hopefully for the better. But it wasn’t exactly on purpose. It just came naturally to me. I’ll look at the movie now and go, “Oh, that’s kind of going for the grandeur and intrigue that I feel from Werner Herzog’s early 16mm documentaries,” or, “That microscope footage kind of has this alien quality like Jean Painlevé’s experimental science films,” or “Wow, I guess the editing rhythm of those Soviet montage films by Dziga Vertov from the silent era that I saw in college really stuck with me.”

One person said Antarctic Voyage felt “like 2001: A Space Odyssey set in the Antarctic,” which we both understood as a compliment, as we’re both Kubrick fans. But again, I don’t think about influences until my movies are almost finished. If I did it any earlier, I would fear becoming derivative or phony. Your inspirations will show up no matter what, so you might as well just be honest with the process and not go for homage or imitation right from the start.

 

 

In what ways does Antarctic Voyage differ from traditional nature documentaries, and what do you hope audiences will take away from this unconventional perspective?

I think part of what makes this movie feel different is it isn’t especially didactic. There is a lot of educational information in it, for sure. But it doesn’t preach to you or tell you how we ought to live in order to save this marine ecosystem or our biosphere in general. It explores ways in which humans have had impacts on South Georgia’s ecology, both good and bad, but it’s not an instruction manual. I think the movie is more of a musing on just what it’s like to be down there, at sea, isolated from civilization for several weeks, and living a different life while doing amazing things with your life. 

Weirdly, I felt humbled and thrilled by just how small I felt amid that expansive, indifferent landscape. It made so many of my more pedestrian, mundane concerns from daily life wash away. But it wasn’t escapism, either. Rather it was a sobering jolt of reality, of what our planet really looks like beyond our homes and screens. I hope people get that sense of awe and connection with nature through this film, even via their screens at home.

 

What were some of the most challenging aspects of filming in such a remote and harsh environment, and how did you overcome them?

It costs a lot of money to make these expeditions happen, but that’s mostly for renting the vessel, hiring the crew, cooks, and marine technicians, and making sure we had enough fuel, food, and other supplies to last us at least four weeks at sea, among other necessities. So, the budget for the filmmaking portion of the grant was quite small. There was not enough in the budget, or enough room on the ship, for a sound recordist, second camera operator, or production assistant.

Luckily, I was used to being a one-man-band filmmaker, and working inexpensively. I was prepared to do everything myself, which I had done before on my previous feature-length documentary, Tangent Realms: The Worlds of C.M. Kösemen (2018), and often have done on my forthcoming project, Enongo. But that was on dry land and rarely far from civilization.  his was my first time making a movie at sea, and in a polar environment. So it was a real gamble. I didn’t even know if I would get seasick or not before going aboard our vessel. Luckily, I did not get sick.

 

 

Can you share a memorable moment or experience from the expedition that had a significant impact on you or the film?

The most dramatic moment of making the film happened at the very beginning: due to chaotic storms – ironically exacerbated by anthropogenic climate change – thousands of flights were canceled or delayed in North America in one day, including our flight. As a result, all of our checked luggage went missing. That included all of our clothing that we weren’t already wearing, a good amount of scientific instruments, and all of my filmmaking equipment that was too large for, or didn’t qualify as, carry-on and personal items. 

My shoulder mounts, my tripod, and half of my cleaning supplies for my lenses and camera bodies were lost in transit, and could not be recovered by the airlines until after the voyage. I anticipated this might happen, which is why all of my carry-on and personal items were only the most valuable, irreplaceable gear: camera bodies, lenses, batteries, SD cards, external hard drives, and whatever cleaning supplies I could carry. So it was an already low budget production suddenly made even more low budget and rough around the edges.

But I reminded myself that other people have made films, conducted scientific research, and traveled the globe with much, much less than we had. It was just a reminder to adapt, which any independent filmmaker needs to do at any moment. I think I became a stronger filmmaker as a result of this technological setback. Even with these unexpected limitations, I still managed to make the movie exactly the way I wanted it to be made.

 

What role did the team of explorers play in the documentary, and how did their dedication and expertise influence the final product?

We were very lucky that everyone got along so well. There is, of course, that important balance between respecting someone’s need for privacy (especially on a relatively small ship), while also being an outlet for them to tell their story and feelings with your camera and microphone. Human beings best relate to other human beings.

I think we have a charismatic assortment of personalities in the film that were on that vessel who help ground the movie. Best of all, they – and the National Science Foundation – gave me full creative freedom, for better or for worse. That sense of trust was really vital in making this movie what it is.

 

 

How do you hope Antarctic Voyage contributes to the broader conversation about the conservation of polar regions and the importance of preserving wildlife?

I hope that Antarctic Voyage, even in some small way, shows that science and art might be different, but that they can still be mutually beneficial allies. Films and other art about science can not only communicate these broad issues of conservation, but can also highlight the aesthetic value of scientific research itself. I sincerely think that the science conducted on this voyage by these dedicated people has as much aesthetic and cultural significance as painting a mural, composing a symphony, or making a film. 

Science helps us understand our relationship with the world.  We human beings are not only connected to nature; we are part of nature.  We never really left that animal kingdom and that vast evolutionary family tree. In a way, encountering other species is like meeting distant relatives. But while there is that kinship with the natural world, what I was filming and what the scientists were researching is also taking place in an environment that is not suited for humans. It really feels like another planet being down on the Southern Ocean at the Antarctic Convergence. You are reminded that the scope and scale of our planet is enormous, and yet everything is interconnected. 

I wanted the film to capture both that sense of connection, and that grandiose sense of scale. If we can help to convey intellectual information in ways that are emotionally resonant, then it will stick with people – and then, maybe, they’ll do something about helping our planet. But they have to care first.

 

What advice would you offer to filmmakers, artists, and scientists based on your experiences completing this project?

My advice to all of them – filmmakers, artists, and scientists alike – is the same. In no particular order: Always be prepared to adapt; go where the evidence takes you; explain big concepts in simple, relatable terms. We are a storytelling species. Find the story in the data that you collect. Maybe it’s one, big story; maybe it’s several little stories. But stories speak to and stick with our fellow humans.

 

---

by Ryan Rojas

Nick Azzaro Bridges Worlds of Love Through Sci-Fi

Writer-director Nick Azzaro, who bridges his Italian roots with his life in Los Angeles, delves into the complexities of identity and belonging in his new short film, Alpha 27. The film embodies his personal journey through opposing worlds and highlights the power of human connections, capturing the tensions between different identities and the quest for a sense of home.

In our exclusive interview, Azzaro reflects on his return to the HollyShorts Film Festival and the emotional responses the film elicited. He discusses how resourcefulness and collaboration played crucial roles in achieving high production value despite budget constraints, and his hopes for how the film will resonate with audiences by conveying a message of resilience and the enduring strength of love amidst life’s uncertainties.

 

Cinemacy: It’s a pleasure to meet you, Nick! Congratulations on your short film Alpha 27 being selected to play at the 2024 HollyShorts Film Festival. What was it like showing your film there?

Nick Azzaro: Thank you! It felt amazing to be back at HollyShorts for the second year after screening my short film Retrieval in 2021. This time, I was lucky to have a primetime slot, and it was incredible to see Alpha 27 screened in front of a full audience in such a fantastic auditorium. The film looked and sounded perfect on the big screen!

It was my first time attending a public screening of Alpha 27, so it was incredibly rewarding to witness the audience’s reactions firsthand. You could feel the emotion in the room, and hearing people sob during the film was truly special. It was also great to be accompanied by other amazing films, and having many friends and collaborators show up to support made it even more memorable.

Cinemacy: You’ve said that Alpha 27 is a deeply personal narrative connected to your journey as an international filmmaker. Can you elaborate on how your own experiences influenced your vision for Diego’s character and his journey? Were there any particular moments or emotions you wanted to capture based on your own life?

Nick Azzaro: Alpha 27 is indeed a deeply personal film, and Diego's journey reflects some of the challenges and emotions I've faced in my own life as an international filmmaker living abroad. Like Diego, who is caught between two worlds (the life he's built on Earth and his origins in a distant space colony), I've often found myself navigating between different cultures, environments, and expectations in my career. Diego's struggle to protect what he has built while being recalled to his origins mirrors the tension I've felt between the hopes of forging a new path and the concerns of an uncertain future.

One particular emotion I aimed to convey was the fear of losing what you are blessed to have. In Diego's case, it's his life on Earth and his partner, and, likewise for me, it's the creative and professional journey I've embarked on and the close relationships I’ve built through the years. There's a sense of resilience in Diego's character, which I relate to—the determination to face challenges head-on and the hope that, despite the odds, you can protect what's important to you. Overall, Alpha 27 is not just a science fiction story, but also a reflection of my own experiences, fears, and hopes, translated into Diego's narrative.

 

 

Cinemacy: The central relationship between Diego and Marcus is portrayed so beautifully. How did you want their relationship to convey the themes of identity, love, and belonging in the film?

Nick Azzaro: Diego and Marcus’s relationship is the emotional core of Alpha 27. Their connection goes beyond the typical romantic bond; it's about two people who have found a sense of home in each other. Their relationship is a safe space where Diego can truly be himself.

In portraying their bond, I aimed to show how love can be a grounding force and that identity is not just about where we come from, but also about the connections we choose to nurture. Their love story is one of resilience, about the importance of finding belonging in the people we share our lives with, even when the world tries to pull us apart.

 

 

Cinemacy: What was the collaborative process like with your cast and crew while making the film?

Nick Azzaro: The collaborative process on Alpha 27 was a blend of trust, preparation, and creative synergy. With the actors, we spent a significant amount of time in rehearsals to develop the chemistry needed for their relationships to feel authentic. We worked together to find blocking that felt natural and ensured they were in the right mindset for their characters, especially knowing that our time on set would be limited. We workshopped the intentions behind each scene, making sure every emotional beat was clear. I trusted the actors completely, and they delivered touching performances, sometimes even nailing it in a single take, which speaks to their talent and preparation.

On the crew side, I was fortunate to work with many familiar faces. Most of the crew had been with me on previous projects, which made the process smoother and more efficient. My longtime collaborator, Destinee Easley, designed the costumes, helped as an acting coach, and served as a second pair of eyes while I was juggling both directing and cinematography. We had extensive discussions about the film’s color palette, and she selected outfits that perfectly matched the emotional tone and visual style we wanted to achieve.

I also brought back composer Jacob Tardien and sound designer Ugo Derouard, who had worked with me on Retrieval. Their contributions were invaluable once again. They not only understood my vision but also brought their own creative insights, elevating the film to a whole new level. It was a true team effort, and I’m grateful for the dedication and talent everyone brought to the project, including the many crew members who volunteered their time and energy.

 

 

Cinemacy: The film contrasts Earth and Alpha 27 visually and thematically so exceptionally. How did you and your production team approach the design of these two worlds?

Nick Azzaro: Designing the contrasting worlds was a critical part of the storytelling in the film. Even though we never get to see Diego’s life on Alpha 27, I wanted to visually and thematically represent the differences between these two environments, reflecting Diego’s internal conflict. For the house, I wanted to create a warm, inviting environment that reflects Diego’s sense of home and belonging. I used natural, earthy tones and soft ambient light to evoke a sense of comfort and familiarity, underscoring the emotional connection Diego has to his life there, especially with Marcus.

The goal was to make Earth feel like a place where Diego’s identity has flourished, contrasting the colder, more sterile futuristic environments that remind Diego of his colony. The immigration facility and the departures bay were designed to feel oppressing, stark, and clinical. I leaned into a more stylized color palette, using greens and blue tones to evoke the distant, almost alienating nature of the space colonies. The lighting was deliberately harsh and artificial, creating a sense of detachment and unease. I wanted the audience to feel the emotional distance Diego experiences when he’s preparing to leave for Alpha 27, making his internal conflict more palpable. 

Being both the director and the cinematographer on the film gave me a unique advantage in having full control over my creative vision. This dual role allowed me to seamlessly align the visual storytelling with the emotional and narrative beats of the film, ensuring that each scene visually reflected the mood and themes I wanted to convey. It also facilitated a close collaboration with other departments, ensuring that every element was perfectly in sync with the film’s overall aesthetic and tone.

 

Cinemacy: What were some creative solutions you used to achieve the high production values despite budget constraints?

Nick Azzaro: From the beginning, I knew the goal was to create an intimate film rather than a sci-fi spectacle, which led to several creative choices that helped us achieve a higher production value despite the very limited budget. I chose the 4:3 aspect ratio specifically to favor close-ups and performances over elaborate establishing shots. I wanted the audience to stay close to Diego, experiencing what goes on in his mind throughout the film, and only focusing on the world around him when it was essential to the story.

Lighting played a crucial role in conveying Diego's emotional state, with brightness and color carefully selected to reflect his feelings in each scene. We scheduled our shooting days carefully, prioritizing scenes that required more elaborate setups to ensure we had the time and resources to execute them properly.

To achieve the futuristic visuals of Alpha 27 within our budget, I leaned on extensive VFX work. I used visual effects not only for the detailed holograms, but also in more subtle ways, like painting out equipment or enhancing existing set elements. This approach allowed us to achieve a polished look without breaking the budget, ensuring that the end result stayed as close as possible to my original vision.

 

 

Cinemacy: You describe Alpha 27 as an ode to the enduring power of love and human adaptability. What message do you hope audiences take away from the film?

Nick Azzaro: The film explores how, even in the face of seemingly insurmountable challenges (like being forced to leave behind everything you've ever cared about), love can remain a constant, grounding force. Diego’s journey is a testament to the idea that while external circumstances may change, our connections and emotional bonds have the strength to transcend those changes. I want viewers to reflect on how love and resilience can guide us through life’s most difficult moments, offering hope and a sense of purpose even in the midst of uncertainty.

 

Cinemacy: How do you view the role of indie filmmaking in today’s cinematic landscape, especially in the context of competing with major studio productions?

Nick Azzaro: Indie filmmaking offers a platform for originality and diverse storytelling. It provides a bigger opportunity for talented voices to emerge, particularly those from underrepresented backgrounds, fostering inclusion and diversity in ways that larger studios sometimes overlook.

The budgetary constraints of indie films encourage creative problem-solving, pushing filmmakers to think outside the box, and leading to innovative and unique narratives. One of the greatest advantages of indie filmmaking is the creative control it affords, allowing filmmakers to craft more personal, authentic stories that resonate on a deeper level with audiences. Personally, I enjoy both indie and studio films, and I believe each has its strengths.

While indie films offer the freedom to tell more intimate and original stories, studio films provide the resources to reach wider audiences. I would love to be part of both worlds, bringing the lessons and creativity from indie filmmaking into larger productions and vice versa.

 

 

Cinemacy: In your opinion, what are the most important qualities or skills that indie filmmakers should develop to succeed in a competitive market? 

Nick Azzaro: Adaptability is crucial. Filmmakers often face unexpected challenges, from budget constraints to last-minute changes, so being able to pivot and find creative solutions is essential. Inventiveness goes hand in hand with this; using limited resources to achieve a compelling story can set you apart.

Enthusiasm is also one of the most contagious and important qualities you can have. It drives the project forward and motivates everyone involved. Forget about trying to be fancy and focus on telling stories with heart and intention. Audiences resonate with authenticity, so putting genuine emotion and purpose into your work is key.

Finally, don’t be afraid to try new things! Embrace that spirit of exploration, and you’ll find that taking risks can lead to the most rewarding experiences and opportunities.

 

Cinemacy: How do you balance staying true to your creative vision with the practical realities of indie filmmaking, such as budget limitations? What advice do you have for filmmakers navigating this balance?

Nick Azzaro: It’s a delicate blend of realism and creativity. It's important to be realistic with your vision and expectations. When you're approaching a project, it’s common to start with a wishlist that includes all the big, fancy ideas you can think and dream of. But once that’s done, you need to strip it down to the core of the story and what’s best for it, considering what’s actually achievable with the resources you might have.

That said, don’t let limitations hold you back. Instead, use them to your advantage. Often, constraints force you to think outside the box, leading to creative solutions that can be even more effective than the “regular approach.” Limitations can push you to discover new ways of telling your story that are not only more practical but also more original and impactful.

My advice to filmmakers is to embrace these constraints. Be open to adapting your vision without compromising the heart of your story. It’s not about what you can’t do, but about making the most of what you can do.

 

---

by Ryan Rojas

Gabriel Mayo Finds The Humor and Heartache In Life

Gabriel Mayo, a Peruvian-American writer, director, and producer hailing from Miami, has made a notable debut with his feature film, A Weird Kind of Beautiful. Crafted under the constraints of a micro-budget during the pandemic, Mayo's ambitious project showcases his ability to create compelling cinema with limited resources. The film, centered around a funeral and a long-overdue reunion, delves into themes of friendship, secrets, and introspection, making it an impactful directorial debut.

In our exclusive interview, Mayo shares insights into his filmmaking approach, blending drama and humor seamlessly while navigating the challenges of constrained budgets and unexpected hurdles. Along with the collaborative efforts of his carefully chosen actors and collaborators (who all wore many hats bringing this production to life), he has brought to life a film that will deeply resonate with audiences. Discover more about this promising filmmaker and his journey by reading our full interview.

 

It’s a pleasure to meet you, Gabriel! What inspired you to create your new film, A Weird Kind of Beautiful, and how did you bring the story to life?

Gabriel Mayo: I wanted to make my first feature but needed to make something that was in the micro-budget range, so I initially began to come up with ideas for something I could shoot in one location, with a few actors, and with a DV-CAM if I couldn’t get all the money. I began writing it during the pandemic, so shooting outdoors was also necessary.

I then began to figure out what kind of story I could tell within these parameters and had many ideas but once I came up with the main idea that we later see in a flashback – which I won’t reveal so as not to spoil the movie – I began to build the story around that. I wasn’t thinking too much about what I wanted to say, it was through the process of writing and making creative choices to create good drama that all these things I’d been thinking about seeped into the script. 

 

The film's plot centers around a funeral and a reunion after eight years. What message or theme did you aim to convey through this story, and how did you balance the emotional weight of these scenes with moments of levity and humor?

Gabriel Mayo: I’d be lying if I said that I had an initial message or theme I wanted to convey. It was through the process of writing that I discovered these themes were in my head and I was sort of discovering how I felt about certain things as I was writing it. Yes, then it became obvious it was a story about friendship, the secrets that we keep from each other, and about how we look at the past.

And thank you for pointing out the moments of levity and humor, some people seem to miss those somehow. Once again, it wasn’t a conscious decision to inject humor. I have a dark sense of humor, but life to me is both dramatic and comedic, and can be both at the same time. I never understood the distinction between the genres, to me they feel the same. Sometimes you have more of one than the other, but it feels natural to me to have both.

 

What was your creative process in developing the film's visual style and tone?

Gabriel Mayo: I wanted to shift what the camera was doing throughout the movie. I knew we had to continually get different angles so we wouldn’t get bored of seeing the exact same setups for 80 minutes. Although this is a  movie that can rely a lot on faces, I also wanted to see the set and this tiny little world the characters inhabit.

So in the beginning we use wider lenses and get to see more, as we progress we go up in focal length but only to a certain extent because we also needed the freedom to move the camera and if we had lenses that were too narrow we wouldn’t have had the space to shoot. I also wanted a deep depth of field for the majority of the movie so we could see characters in the foreground and background. And then towards the end we shoot mostly faces and get closer to the characters. 

 

Indie films often rely on a tight-knit crew. How did you assemble your team, and what was the collaboration process like on set?

Gabriel Mayo: The first person to come on board was Mark Pulaski, who helped me produce the film. We needed people who were down for the cause. It’s a small indie movie, nobody is making what they should be making, they have to come on board because they love the project and want to be part of it and believe in it.

I wish we could’ve paid everyone what they should be making, but if we did, the movie wouldn’t have been made. So it was a matter of finding people that read the script and wanted to be part of the movie because it resonated with them in some way. It was a small production, so on set everyone wore multiple hats because we had limited resources.

 

How did you approach casting the film? What qualities were you looking for in the actors to portray these complex characters?

Gabriel Mayo: Casting and working with the actors was the most important aspect of this movie. I knew people had to almost believe the actors weren’t actors, but were the real-life people they’re supposed to represent. It should feel like you’re a fly on the wall this one evening with this group of friends. I was looking for very naturalistic acting.

To a degree I wanted it to have the same feeling like when I watched the movie Kids. None of them were actors and they seemed so real and unique. We dedicated a lot of time, more than a year, to casting and finding the right actors. Again, if we’re going to be staring at their faces for 80 minutes you better believe every word they say and action they take. It was challenging but we were lucky to find all of them. 

 

How did you work with the cast to create authentic, compelling performances in a large ensemble environment?

Gabriel Mayo: We rehearsed the material for nine days before we shot anything. I had done a long casting process and some extensive readings with some of them prior. We spent the first few days of rehearsal going over the script line by line, making sure we were all on the same page about it. There were lots of questions and discussions that were part of the process but after the first few days we had covered a lot of ground.

We went in order and split up the script in the 8 or 9 different parts and focused on each one of these parts. After the first 4 or 5 days we went on set and started blocking. I think we finished blocking the last 10min of the movie on the last day of rehearsal because we were going in order and going over it again and again as we went along. By the time we got to day one of production they knew their characters really well, the dialogue, the blocking, etc… and they had also become really close friends in the process, which definitely helps. You see real friendship on screen. 

 

 

What were your biggest challenges as an indie filmmaker in bringing A Weird Kind of Beautiful to life?

Gabriel Mayo: The uniqueness of the project made everything challenging because we had to do many things that are uncommon in an indie production. Finding five great actors who could deliver the performances you saw, given our resources, was incredibly hard. We spent a lot of time looking for them and, as I mentioned earlier, we went through a rehearsal period that was crucial and I had to fight for it because many people involved, not only did they not see the benefit, but didn’t see the necessity.

I’d get questions like, "Why can’t we rehearse for a couple of days? Why not just a week?" Making a movie is convincing everyone of your vision and of your way of doing things, and none of them had worked like that before. Shooting it too. It was a challenge to get all the setups we needed, and it was challenging for the actors to memorize so many lines and be ready to perform for ten minutes straight. The only way to address that was through preparation. 

 

Do you have any memorable moments or behind-the-scenes stories from set?

Gabriel Mayo: Yeah, we had rehearsed the movie and knew how everything was going to play out, but there were two moments with Crux (who plays Eric) – one moment where he gets into an argument with Ivan, and later another between him and his fiancee – where something happened on those two nights where he tapped into something he hadn’t before and delivered an emotional performance that wasn’t even in the script and turned out to be better than I had originally imagined. Of course we had the night where it rained, our lights blew up and we couldn’t shoot for the rest of the evening, but who wants to hear the negative stuff?

 

Can you talk about the funding and budgeting process for the film? How did you secure financing, and what strategies did you use to make the most of your budget?

Gabriel Mayo: The funding was a combination of putting my own money, some investors came in, and then asking friends and family for money. Overall it wasn’t a huge budget, so between all those I was able to get enough to make the movie. It was still hard because we often didn’t have things that we needed. Many of us had to wear many hats, we had to ask favors, and tried to get what we could for cheap or nothing. The typical indie way of doing things. 

 

What do you hope audiences will take away from watching the film, both in terms of its narrative impact and emotional resonance?

Gabriel Mayo: I wouldn’t want to impose an answer on the audience or tell them how they should feel or think. I’m often surprised to hear of people who have watched it, or read the script, because they all have their own interpretation. It’s always different how it resonates with them on an emotional and personal level. I do hope people find the movie engaging and it resonates with them in a way that makes them think about their own lives. Ultimately, like Albee once said, when people leave the theater they shouldn’t be thinking about where they parked their car. I agree with that sentiment and that’s the only thing I can hope for.

 

What advice would you give aspiring indie filmmakers looking to create their own feature films, based on your experiences?

Gabriel Mayo: Find a way to make something on your own with the resources that you have. Build a script around that. Stick to your vision and your way of doing things while at the same time be willing to accept other opinions, but only change what you had planned if the alternative gets you more excited than what you had originally planned. And learn how to write well before you shoot your first feature, you may not get another chance to make another one.

 

---

by Ryan Rojas

Spencer Jamison Explores Connection Through Serendipity

We've all experienced those moments in life where aimless, late night walks with friends or dates turn into long hours of laughing and discussing the most random of topics. These are the moments that indie filmmaker Spencer Jamison finds the beauty in, seeing connection through our shared serendipity.

In our insightful interview, indie filmmaker Spencer Jamison discusses her short film At Capacity which had its premiere at the LA Shorts International Film Festival. Spencer recounts how she drew from her experiences as an overwhelmed artist seeking hope and authenticity as inspiration for the film, along with challenges faced during production (managing multiple roles and a gas leak on set). Spencer emphasized the importance of collaboration and networking in the film industry, and gave invaluable advice for aspiring indie filmmakers. Read on for our exclusive interview with this bright, upcoming talent to keep your eye on.

 

Cinemacy: Hi Spencer, it’s nice to meet you! Congratulations on the world premiere of your short film, At Capacity, at the LA Shorts International Film Festival! Can you tell us about the inspiration behind it?

Spencer Jamison: It’s great to meet you as well, Ryan! And thank you, it’s a pleasure to be interviewed by Cinemacy. Also, shoutout to LA Shorts for supporting the film… it was a bit surreal getting to celebrate with the cast and crew this past weekend… some of whom have known me my whole life.

I wrote At Capacity at a moment in time where I was extremely overwhelmed with the state of the world and trying to figure out my place in it as an artist and woman. I wanted to create something with hope, something a bit sweet. But also a film that would spark a dialogue about how we can be better to one another… leading with tenderness and authenticity. It’s very inspired by those character driven 90s rom-coms, my appreciation for The West Wing, and the whimsical heart of Korean Dramas. Fortunately, my big brother and fellow filmmaker, Jai Jamison, and a close family friend, Ron Forbes, believed in the script so much they came on board as Executive Producers to help bring it to fruition!

 

Cinemacy: As an indie filmmaker, what were some of the biggest challenges you faced during the production of this film, and how did you overcome them?

Spencer Jamison: Production was fairly smooth (thank goodness!) once we brought on the help of Macy West and her production company, Mad Box Made. I’m currently based in Los Angeles and we were planning to film in my hometown, Richmond, VA. Macy was incredible because she was there on the ground making sure we assembled a really generous and skilled crew. With that taken care of, the most challenging aspect of production was wearing multiple hats and splitting my focus.

I’d written these dialogue heavy scenes in multiple languages, was also discussing blocking, camera setups, in and out of hair and makeup, doing collaborative revisions with my cast… it was a lot, but I honestly loved it and want to do it again. My main goal at every step of production was I wanted the world of At Capacity to feel warm and lived-in. This meant truly trusting that the cast and crew had my back and allowing folks to expand into their individual roles.

 

Cinemacy: One of the things that I was so taken by while watching was how the story explores themes of connection and serendipity. How did you translate these abstract concepts into visual moments in the film?

Spencer Jamison: There’s a specific visual moment at dinner where the camera slowly zooms in on Mia as she reveals to Ari that she feels like she’s stuck in a corner sparring with fear, anxiety, and rage. The camera lingers on her until Ari says, “Would you rather be pushed off a cliff, or with your own parachute in tow, choose to jump?” She doesn’t answer the question… but the question does give Mia some reprieve. She starts to breathe.

This is when we’re catapulted away from the restaurant into a more liberating and whimsical moment walking the canal in Shockoe Bottom. Having grown up in Richmond, I already knew it would be one of the main locations. I wanted to capture those serendipitous late night walks with friends or dates, where you spend hours laughing and discussing the most random topics.

 

Cinemacy: Were there any unique or memorable moments from the filming process that unexpectedly impacted the film's final cut?

Spencer Jamison: On our last day of filming… we had a gas leak… *insert yikes emoji* *sideways laugh-crying emoji* *upside down smiley face* Luckily, we caught it early, were able to air the location out, made sure everyone was okay, and had already created a plan to get the coverage we needed for the rest of the day. But it did mean we had to be really precise and ditch a couple of our setups.

We approached the restaurant scenes with an urgency that I actually believe aided in the acting for both me and Jake (Ari). Also I have to say… Jake is brilliant and hilarious and had some great adlibs and dialogue changes that elevated the film and 100% made it into the final edit. 

 

Cinemacy: Working with a limited budget is a common constraint for indie filmmakers. What strategies did you use to ensure high production quality without breaking the bank?

Spencer Jamison: Again, I cannot thank my line producer, Macy, enough… She was so thoughtful in her budget and hiring that I knew going into filming we would be in great shape. Also fortunately, my brother was one of the editors, so we both deferred our payments for the various roles we took on in this production to make sure cast and crew were taken care of first. Which I mean is pretty common for filmmakers who really want to get their films made! I’m just very grateful for the crew in Richmond who have worked on a ton of big projects and took the time to contribute/work on At Capacity.

 

 

Cinemacy: How did you cast the roles of Ari, Maxine, and Audre? What qualities were you looking for in your actors?

Spencer Jamison: From the jump I wanted to work with my classmate from the Yale School of Drama, Jake Ryan Lozano. He was one of my first scene partners and has now become a great friend. We have immense trust in each other and I knew he would bring the wit, charm, and chemistry I needed to make us fall in love with both characters.

Zainab Bari (Maxine) is the sister of one of my best friends (Hey Binta!) and a fellow James Madison University alum. She’s a gifted director, writer, and actor in her own right and I’d been looking for an opportunity for us to work together. Plus, we look like we could be sisters.

We held auditions for the role of Audre. I have to thank our casting director, Anne N. Chapman, for introducing me to the incredibly talented, Joy Hana Park. The minute I saw her tape, I knew she would bring so much fun and nuance to this character in a short time. Now, we’ve become great friends and she’s like a little sister.

 

Cinemacy: What advice would you give to aspiring indie filmmakers who are just starting out and looking to get their films noticed by festivals, such as the LA Shorts International Film Festival?

Spencer Jamison: The festival circuit is hella unpredictable, so my biggest advice is to be centered in the purpose, intention, audience, and creative process of your film. You’ve got to have a strong “why” first and foremost. That will keep you grounded when rejections come and when those festivals in alignment with your work ultimately say yes!

More technical recommendations… rewrite, revise, and get the script (or treatment/concept if it’s more experimental) solid. It’s your roadmap. Be concise in how much time you need to tell the story you want to tell. Then assemble a team of people you trust to enjoy the process of creation alongside you. There’s no rhyme or reason to the way any of our paths unfold in this industry, but at the end of the day, we all want to be able to look at our work and be proud of the steps we took to birth our projects.

 

Cinemacy: Can you talk about the importance of networking and building relationships within the film industry, especially as an independent director? Who have you met along the way that has helped you get to where you are today?

Spencer Jamison: I’ve been fortunate to build a foundation of collaborators very organically. I met a fellow filmmaker last year, Caroline Renard, because we’d both recently made shorts. We bonded over our shared southern Black girl nerdom and desire to create opportunities for other Black women. She’s been a great holistic support system this year and now we’re planning a project that I’m going to produce and star in that she’s written and will direct.

Another incredible friend and mentor I have is Kaitlin Fontana whom I met through my brother. I took her screenwriting class and whew… my voice as a writer and skillset as a filmmaker have grown immensely with her trust and encouragement. I was recently the 1st AD on a short film of hers. “Networking” should feel nurturing. For me, it’s more important to genuinely enjoy each other’s presence than to pursue relationships with transactional intent. 

 

Cinemacy: What pivotal moments or projects would you say significantly shaped your path as a filmmaker?

Spencer Jamison: I’ve been extremely driven my whole life and always believed I had a healthy relationship with the pursuit of achievement or success. But when the pandemic happened and we were all forced to pause/take stock, I faced burnout coupled with the brain fog of long Covid. This extended period of time was pivotal because it reminded me that caring for my physical, spiritual, and mental well-being is beyond essential. My approach to creation and collaboration is much more holistic now. It’s why I talk about nurturing one another and encouraging rest so often. It’s why I really want to lead by example on sets, in writers’ rooms, in rehearsals, in life… with a true sense of gratitude, play, and presence. I know now that my dreams as a filmmaker must work in tandem with living a good and full life. 

 

Cinemacy: Are there any upcoming projects or future goals you're excited to share with us?

Spencer Jamison: I recently finished writing my first feature, a nerdy romantic comedy called Caught in the Middle of June. I’m now working on a second feature, a coming of age film dedicated to my grandmother, Marie. Hopefully one of them will be my feature directorial debut. I also have a sci-fi action short I’d like to direct. I wrote it for two close friends to star in with the need to unpack our relationships to social media and unhealthy trends.

For future goals, I desire to work in multiple capacities as a filmmaker and meet each project in whatever role it requires of me… whether that’s as a director, writer, actor, or producer. I’d also love to work with directors, writers, and showrunners I admire, travel, and create creative opportunities for others. Instead of the visual of climbing a mountain, I see my life and career as navigating waterways… sometimes the water will be still, some days there will be waves, but ultimately I’ll always have a healthy relationship to the changing of tides.

 

---

by Ryan Rojas

Christine Handy and Ziad Hamzeh Connect Through Catharsis

What do you do when tragedy befalls you? If you're Christine Handy, who battled a breast cancer diagnosis, you bravely share your story to as many people as possible so that others may heal through connection. "Honest and courageous storytelling allows others to feel less alone. Sharing stories of great difficulty promotes connectedness," Handy says in our interview. Handy courageously put her own story into Walk Beside Me, which would become a best-selling novel. Now, she has overseen the adaptation of that novel into a feature film, Hello Beautiful, which she served on as as executive producer.

Cinemacy had the distinct pleasure of talking with Christine Handy as well as Ziad Hamzeh, who wrote the screenplay and directed the film. Read on to learn more about this poignant film, which captures the courage and resilience in the face of illness and despair. Christine and Ziad dive into their shared creative journey, inspirations, and challenges faced in bringing this deeply moving story to the screen.

 

Christine, what inspired you to adapt your best-selling book Walk Beside Me into this film? What were the earliest challenges you faced during this adaptation process?

Christine Handy: My inspiration to turn my book, Walk Beside Me, into a full feature film came from my own experiences seeking films during my cancer journey. Not only did I become frustrated with books that portrayed a cancer patient's journey, but I also became more fearful while watching popular cancer films. After completing my chemotherapy, I knew that if I could write the book, I would not stop until a film was made.

Of course, those were just dreams, but if you know me, you will know that I have a lot of grit and determination. I respect "No's," but they don't stop me. The earliest challenges still face me today. I am not in the film industry, so each step of the way has been fraught with uncertainty and tremendous hurdles. But we keep going, especially when it involves helping others. 

 

 

Ziad, this film, Hello Beautiful, explores themes of courage, friendship, and love amidst tragedy. What excited you about the original story, and what did you want to add to ensure the visual and emotional themes captured the beauty and ugliness of illness and despair?

Ziad Hamzeh: Christine Handy is a remarkable woman, and her story is one of tremendous courage, determination, and love. As I read the novel and developed the screenplay, tears often burned my cheeks, because the emotions were so strong, on so many levels. I was determined to bring to audiences what I found so compelling in Christine’s story. She and her family were tested against the most extreme circumstances, and they did not give up. It was a transformational journey for all of them. 

To do justice to their stories, it was important to highlight each characters’ perspective and struggles. I was assisted greatly in this area by our Director of Photography, Terrence Hayes. The visual tapestry he created effectively communicated the contrasts of intimacy, urgency, and vulnerability that mirrored the internal struggles of the main character. Also integral to communicating the emotions visually was our Production Designer, Layla Calo-Baird. She understood that the environment is also a key character in the film. We began at the pinnacle of happiness and success and fell to the depths of hell. The environments she created reflected all of that.

Together, our team created a visually stunning environment that externalized the variety and depth of emotions our characters were experiencing. Finally, the emotional environment was elevated even further by the exquisite compositions of Marco Werba. His music enhances every moment of the film. The collective expertise and tireless efforts of our entire team resulted in the creation of an engaging, heart-felt, and inspiring film. 

 

Christine, could you elaborate on the decision-making process behind selecting Ziad Hamzeh as the director for Hello Beautiful? What qualities did you see in him that made him the right fit for this project?

Christine Handy: Ziad Hamzeh, from our first introduction, has been a champion for this story. It is not because it’s my story, but it is a story for all women that Ziad recognized. Because breast cancer is on the rise, particularly in younger women, I needed a partner that would get through all of the stumbling blocks with me. Ziad, like myself, has a great sense of tenacity and determination to help others. He brings passion to his projects as well as decades of experience. Ziad and I instinctively trusted each other from the beginning. We used the same entertainment lawyer to seal the agreement in 2018 and since that moment, we have not stopped working on this project.

 

 

Ziad, Hello Beautiful navigates through emotional and visual chaos while portraying decency in darkness. What early work did you do to conceive these contrasting elements into the visual style of the film?

Ziad Hamzeh: All of my work, both in theater and film, embraces the basic human experience. This requires knowing each character intimately. To accomplish this, I create a unified vision derived from the environment, economic status, and engulfing need of each character. This deep understanding of each character guides the development of the story and maintains consistency and authenticity throughout the project. 

Also essential is contrast. I learned early in my career that contrast really matters. Most would agree that without pain, we cannot fully understand joy; and without darkness we cannot fully appreciate the light. It is the contrasts in the characters’ lives that enable us to genuinely understand and connect with them and their experiences. 

I take my responsibility very seriously, because actors depend upon the director to ensure their performances deliver truthfulness and authenticity. So it is essential for me to work from a platform where humanity and human experiences are at the center of the story. This approach has always enabled me to deliver honest and compelling stories.

 

 

Christine, as someone deeply connected to the story on a personal level, what was it like for you to be on set during the production of Hello Beautiful?

Christine Handy: It was a dream come true to be on set during the production of Hello Beautiful. However, we were not portraying the most flattering parts of my life or the easiest. This film sheds light on the pain that entire families go through during cancer trials, bringing up deep pain. There were a few intense scenes that I purposely did not show up on set for. One scene in particular is still hard for me to watch even though I experienced it ten years ago. When you watch the movie, think of the table scene; that was the day I stayed home. 

 

Ziad, in a film that explores such intimate and challenging themes, how did you work with the actors to bring authenticity and depth to their performances?

Ziad Hamzeh: The intimate and challenging themes in the film required us to explore the story and the characters in a truly honest and authentic manner. Perhaps the best preparation for me relative to supporting the actors’ understanding of the characters and the themes of the story is that I wrote the screenplay. As I did, I felt the characters’ emotions, spoke their words, ached with their pain, and reveled in their joy. So when it came time for me to rehearse with the actors, I had already developed a deep understanding of each character and theme.

Fortunately, our talented cast came well-prepared for their roles. Their skills and professionalism were extraordinary. They had researched their characters, the global crisis of breast cancer, and many other elements. My responsibility during rehearsals was to ensure they came to understand their characters even better than I did. I worked closing with them in a variety of formats and listened attentively to their queries and requests. They prepared diligently and collaboratively and brought their passion for the project to the set every day. Each and every moment of the script was explored, dissected, and questioned in order to deepen the actors’ understanding and thus strengthen their performances. 

 

What were the biggest challenges you each faced while making this movie? What were the most unexpectedly rewarding moments?

Christine Handy: The biggest challenges related to funding and our limited budget. We started production during the strike, which also added to our restraints. Ironically, the most rewarding moments involved the same budgetary constraints that invoked such peril. The slender budget forced each and every person to work harder and with greater professionalism. This elevated the set and brought all of us closer. We all shared an underlying drive to make this film exceptional, even with the restrictions.

Although many of the scenes required intense emotional acting, we did not have time for breaks. Our schedule demanded an intensity that was felt by all. Quite literally, the entire community rose to the occasion. Other unexpected rewards occurred when the actors gave much more than I expected. I cannot wait for the world to see Tricia Helfer's performance in this movie. There is also a buzz going on about Sara Boustany and Tarek Bishara's performances as well. The casting for this film is perhaps the greatest reward so far.

 

 

Ziad Hamzeh: Challenges in filmmaking are common from the moment you begin development until you complete the project. In our case there were three significant challenges. First, the Screen Actors Guild was striking, so we had contractual terms to negotiate with SAG. Fortunately, we were granted permission to proceed. Second, there were a variety of complications with the set. Our Producer, Michael Espinosa, took on the burden of resolving most issues, so I could focus on my role as director. Third, as with many productions, the biggest challenges were time and money. The limitations of our budget required us to complete the filming in fewer days than we would have preferred. We shot in only 18 days, when ideally we would have had double that. 

As for unexpectedly rewarding moments, I was reminded daily of the exceptional talent and determination of our cast and crew. It was an honor, a privilege, and a joy to work with them, and the quality of the film is evidence of their ability and commitment.

Another unexpectedly rewarding moment occurred on a day when Tricia Helfer was slated for a particularly demanding day - several scenes and costume changes, long hours, and lots of emotion. She is incredible, focused, humble, and patient. Between scenes she would listen to music in a quiet space to find her center so she could harness the energy and emote the feelings required of her. The seriousness and dedication she invested in the role was all awe-inspiring. That day she brought the cast and crew to tears, myself included. Witnessing the impact you hope an audience will experience come to fruition on set is truly humbling and enormously rewarding. 

 

What do you both hope audiences take away from Hello Beautiful, both in terms of its narrative impact and its emotional resonance?

Christine Handy: Honest and courageous storytelling allows others to feel less alone. Sharing stories of great difficulty promotes connectedness. I felt very alone in my diagnosis. I was younger than most women I had known with the disease and I was blindsided by my diagnosis. It was in those early darker moments that I vowed to share my story if I survived. I desperately did not want others to feel such emotional fear and paralysis. My greatest hope is that this film helps as many women as possible feel less alone. I want to champion the importance of community in breast cancer while trying to negate the loneliness of the disease. If this narrative accomplishes that, then the emotional resonance will be one of togetherness and not separateness.

 

Ziad Hamzeh: Since the beginning of time, humans have shared their stories with others. From ancient cave drawings to the modern spoken word, humans have sought validation from others for what they have experienced, loved, learned, and lost. 

Early in my career, I was an actor. It was at UMASS Boston, under the guidance of Lou Roberts and Susan McGinley, that my competencies as a director began to evolve. Those who understand the approaches of Stanislavsky and Brecht may find their methods in opposition, but for me the combination of the two seemed natural and appropriate. 

Brecht wanted his audiences to be inspired to action. He wanted them to erupt from the theater with the determination to do something as a result of what they had witnessed. His goal was to effect positive change. 

In contrast, Stanislavsky sought to optimize the cathartic experience within the theater. This allowed his audiences to relieve themselves of the emotions they were feeling in the moment instead of bringing them outside the theater. 

I wanted our audiences to feel the cognitive dissonance of the two approaches - to feel the heightened emotions of the characters and also to feel inspired to effect change. No one should die of breast cancer. We need a cure. 

 

 

Let’s get to know you both better! Where are you both from and where do you currently reside?

Christine Handy: I am from St. Louis, Missouri. I then moved to Dallas, Texas to go to a college called Southern Methodist University. I ended up staying in Dallas for over 25 years. I raised my two sons there. In 2015, I moved to Miami, Florida to live close to the beach and get a fresh start.

 

Ziad Hamzeh:  I was born in a small farming community south of Damascus, Syria. I immigrated to the United States in 1979 after spending a few years in Paris. Presently, I live near the ocean with my wife and sons about 20 miles north of Boston, Massachusetts.

 

What are your favorite films, who are your filmmaking idols, and dream collaborators?

Christine Handy: Some of my favorite films are older films. I loved John Candy, so anything with him in it, like Uncle Buck. But I also enjoy watching movies based on true stories, such as The Boys in the Boat and CODA. Recently, I watched Ordinary Angels starring Hilary Swank. It is a story of tragedy and hope, as well as a refreshing reminder of the importance of compassion.

My dream collaborators are those production houses that can take Hello Beautiful to the largest audiences. I believe, with everything that I know to be true, that this film will ignite hope. For that reason, I am deeply committed to continuing to work to reach as large of an audience as possible. There is no limit to what we can accomplish when we believe in ourselves and our projects.

 

Ziad Hamzeh: As you might imagine, I enjoy many films, admire many filmmakers, and would love to collaborate with some of the legends of our industry. The common denominator is that each honors the essence of humanity - what we are, what we feel, and what we aspire to be… These speak to me; their works inspire me. In truth, every human being I've encountered has contributed in some way to my understanding of good storytelling. 

In terms of a dream collaborator, that is and always will be my wife. When we were young, she taught me English, and we created The Open Fist Theater together, an oasis in Hollywood for those who shared our passion and collaborative spirit. Forty years later, she is my North Star, my writing partner, challenging me to achieve the honesty and truthfulness I strive for in all my projects. 

 

What is one thing you’ve learned as a filmmaker that you think other filmmakers would benefit from knowing in starting their careers?

Christine Handy: I do not consider myself a filmmaker, although I suppose I have now made one film. When making this film, I couldn't understand how any films truly get completed. The obstacles seemed so great, not just for small budgets but I imagine for all budgets. I would simply say that quitting should not be an option. Only the ones who stick it out in the difficult messes get it done. So keep going.

 

Ziad Hamzeh: I have learned countless lessons as a filmmaker, and I’ll share just a few. First, human beings are continually evolving, so we must continue to learn from and with each other. That means listening with an open mind to all opinions and respecting all perspectives. Second, working as a team is important, but nurturing that team so it becomes an ensemble is even better. When your cast and crew know and care about each other, everyone’s experience on set is improved. Third, all egos must be left at the door. Only with kindness and compassion can a unified vision flourish. 

 

What is one message that you would like to share with audiences about your work, your general outlook on life, that you are interested in further showcasing in your films?

Christine Handy: I would describe myself as a hope facilitator. It is not always easy to continuously talk about a story that is rooted in such pain. Yet, by doing so, it can bring a sense of community to a disease that is so isolating. Whether through a book, a film, social media, behind a podium, or even one-on-one, talking about struggles on a very personal and vulnerable level invokes connection. The purpose of this film is to show a very accurate portrayal of a disease that is on the rise. Not to show the disease as hopeless, but to model the importance of people showing up during illness and the truth of the human spirit's fight to survive. I believe deeply that this film, in particular the ending, has the ability to give tremendous hope.

 

Ziad Hamzeh: I believe the most valuable stories engage the viewer in the immersive experience of unpacking, scrutinizing, and embracing the human condition. Much of my work is a reflection of who I am, what I value, and how I see the world. I seek to contribute positively through my art even as I dare audiences to look in the mirror, think differently, and choose alternative paths.

 

---

by Ryan Rojas

Marcus Vetter Endeavors to End War Crimes Against Humanity

Can war crimes truly be prevented, or is the essence of war itself the greatest atrocity? This question is suggested by Ben Ferencz, the esteemed former prosecutor of the Nuremberg Trials. It's also thoroughly investigated by director Marcus Teller in his powerful new documentary, War and Justice.

Through the lens of his documentary, acclaimed director Marcus Teller explores the 25-year history of the International Criminal Court (ICC) and its relentless pursuit to eradicate the gravest crimes against humanity. In our exclusive interview, the visionary filmmaker discusses the intricate journey of creating this thought-provoking documentary and the insights it unveils about justice in times of conflict.

 

It’s a pleasure to meet you, Marcus. How did you decide to make this documentary about the International Criminal Court (ICC)? What drew you to its 25-year history?

In 2008 I was doing a film, Heart of Jenin, about the story of the Palestinian father Ismael Khatib whose son was shot by an Israeli soldier in the Palestinian city of Jenin. Instead of seeking revenge, Ismael decided to donate his son’s organs to Israeli children as a sign of peace. Such actions instead have inspired other people to do the same. Luis Moreno Ocampo, the first prosecutor of the ICC, saw the film at the Cinema For Peace gala in Berlin. He was so inspired by Ismael’s bold act of humanity that he called me to visit him in The Hague. He had just received a Palestinian delegation who requested the ICC to investigate possible war crimes committed by Israel in the Gaza war of 2008/2009. But as Palestine back then was not yet accepted as a state and therefore never could ratify the ICC, he had to refer the case first to the United Nations Assembly who eventually decided to consider Palestine as an observer state. With that, Palestine later ratified the ICC and became a member state of the court.

That is why today the ICC has jurisdiction over crimes committed in Palestine even though Israel has never accepted the ICC, and this is why arrest warrants are looming over Benjamin Netanyahu for having committed possible war crimes in the ongoing Gaza war, as well as some Hamas leaders of ordering the heinous attacks on October 7. An act of humanity is so much stronger, and reconciliation can lead to so much more then vengeance and violence. War can be replaced by justice. This is what inspired me most in the making of the film and this has become the main theme of the documentary.

 

Ben Ferencz argues that war itself is the greatest war crime. How does your documentary address this perspective?

What Ben Ferencz is referring to is the very fact that in all wars, soldiers will carry out atrocities. This is the nature of wars. Civilians cannot be protected, as much as we wish for it. This why Ben, who was the youngest prosecutor at the Nuremberg trial, has spent his whole life advocating that we have to avoid wars by all means. The documentary tells the story of the ICC’s mission to make heads of state accountable who command or order war crimes so that they don’t get away with impunity. In 2017, the Rome Statute is amended by the mother of all war crimes: starting a war of aggression.

Unfortunately, the US has put its veto so that not only the attacked state needs to be a state party of the ICC, but also the attacking state for the ICC to have jurisdiction and being able to intervene. Powerful nations such as the USA, Russia, India and China have never accepted the ICC's belief that they are above the law and can not be held accountable if they commit crimes of aggression, as it is the case with Russia today, but also with the USA when they launched a war on Iraq in 2003.

 

What were some of the most compelling stories or cases you encountered while researching War and Justice, and why did they stand out?

Most compelling for me was what happened in Abu Ghraib when US soldiers were filming their tortures in an Iraq prison. Because these tortures were used by ISIS as one of their main arguments to recruit people to join them. "Vengeance begets vengeance," as Ben Ferencz says. This stands in total contrary to the story of why I actually ended up making this film. This story of the Palestinian father Ismael Khatib has inspired so many people to do the same. For example, I decided to refurbish an old cinema in Jenin and hundreds of volunteers all around the world did the same. The story was finally told in the documentary Cinema Jenin: The Story of a Dream.

Then, the act of humanity by an Israeli woman, Yael Armanet, whose husband was killed in a suicide attack in Haifa, inspired me. She decided to visit the suicide bombers family in Jenin, which is also told in a heart breaking documentary of two young directors with the title After the Silence. So yes, vengeance and violence begets nothing else other then vengeance and violence. Those who overcome those feelings are truly moving the world. This was the real take away for me at the course of making the film.

 

 

How did you navigate the balance between telling the ICC's institutional history and highlighting the personal stories of those affected by war crimes?

The film’s main challenge was to introduce a dry and very complex subject matter to a layman’s audience. Another challenge was to show what happens to the victims of war without exposing them. For example, the scene of a young, maybe 12 year old boy being abducted to become a child soldier and being beaten up by some soldiers on the back of a truck. This scene is very cruel and hard to watch. A few minutes later, we see a witness in the court being interrogated by the prosecution about him being abducted and beaten up. By listening to his words and his description of what happened to him, our imagination cannot grasp what really happens at war. When this young boy talks about the very fact that they broke his friend’s arms as a punishment, we cannot possibly understand what it really means. But if we see the scene on the truck, it is so unimaginably strong that we hardly can watch it.

This was the balance we needed to work out so that the audience can understand what is at stake, but is not overwhelmed. We tend to look away because we cannot bear it. We read articles about the newest killer drones, F16 fighter jets, about tanks destroying the enemy, and we start to loose our empathy with those being exposed to the war. The film brings these scenes of atrocities in the mildest way possible to the audience, as a reminder why we should not be indifferent. It matters and it could be our children who have to fight the next war.

 

What impact do you hope War and Justice will have on viewers' understanding of international justice and the prevention of war crimes?

War and Justice is clearly the most important film I have ever directed. There are very personal films, like the film about my Turkish father who I met the first time when I was 37 - My Father, The Turk  - or a film about cruelty of hunger. But War and Justice is so important because it presents the audience alternative arguments towards war in a time when war is chosen by the world as a mean of resolving conflicts. A lot of people have made their mind and are now convinced that there may be no alternative to it. That we need to deliver weapons, that we need to be in solidarity with Ukraine, or with Israel or with Palestine, and that we need to finish it. That the time for peace and reconciliation has run out.

Herman Goering, one if the defendants at the Nuremberg trial, was asked why the Germans could possibly opt for this total war. And he said: "It's very easy. You just had to tell them that we were attacked and that we have to preempt it. All the remaining pacifists have to be denounced as traitors." He said it would work the same way in any country and at any moment in the future. Of course there are reasonable arguments for war this time. The appeasement policy with Hitler, for example. That we should never have let Hitler go so far and we should stop Russia before conquering other countries as well. But are we really sure that Russia would do it? And can we really compare the current situation with Hitler’s psychopathic war of aggression? The film makes you rethink your stance towards war and is so important in these times…

 

Were there any moments during filming or production that particularly challenged or surprised you positively or negatively?

A very important moment in the documentary is the scene with the taxi driver when he drives Ocampo to his hotel in The Hague. He asks a very interesting question exposing some of the flaws of the ICC, for example, why the leaders of the mighty states never will be prosecuted. In my eyes this court will only make a real difference if it is perceived as a neutral and just court that tries not be influenced by politics. We should never forget that 2/3 of the member states of the ICC are from the global south, so the conditions are there for the ICC to be a court of all nations.

Karim Khan, the current prosecutor’s decision to ask for arrest warrants for Hamas leaders and an Israeli Head of State and his Defense Minister, were very bold decisions that has sent a message to the world that he does not shy away to stay neutral even though the US has threatened him to retaliate even personally against everybody from the ICC involved in those decisions.

 

How do you see the role of documentaries like yours in influencing public opinion and policy regarding international criminal justice and human rights?

It's hard work. You have to work on a film until you are really sure that the audience is truly emotionally impacted by its story arc and the message of the film. But then the real journey only begins. With the anti-war message the film has, it is a pretty hard undertaking in these days. For some important festivals, screening platforms and TV stations the message of the film is way too controversial. It is going too much against the tide. This makes it very challengeable for us. We are now working with the Dresdner Sinfonics, one of the most prestigious orchestras in the world, and they want to play the music score of not only the film War and Justice, but also my other three films Heart of Jenin, Cinema Jenin, and After the Silence, live, and together with other symphony orchestras and musicians from the different conflict regions Palestine, Israel, Ukraine, Russia, Taiwan, China and Iran. A good number of orchestras already have agreed to cooperate.

So, under the title "Messages of Hope,” we want to spread hope with these stories of normal people that have tried to break the viscous circle of violence instead of seeking revenge. War and Justice will be the last film of the series and after the premier in an important opera house in Germany we will travel with it to symphony orchestras all over the world addressing a totally new audience interested in classical contemporary music. A world class Armenian composer has already agreed to compose the four overtures and re-arrange our existing film scores for these sinfonie orchestras. Stay tuned!

 

Looking forward, what are the most pressing issues facing the ICC and the pursuit of global justice, and how can documentaries and media address these issues?

The ICC’s biggest challenge now is to keep working in making this court to be perceived as a neutral and independent court. Each chief prosecutor was different and has influenced the identity of the court. Luis Moreno Ocampo, Fatou Bensouda and now Karim Khan. The good thing is they will hand over to the next. So, the ICC is permanently evolving. I hope the film, by having filmed for such a long time period of 13 years and by having given a glimpse of each of the three prosecutors, will help to shed a light at this institution and to make it also for a layman accessible.

 

Let’s get to know you better! Where are you from and where do you currently reside?

I am from a small German student town called Tübingen, but currently also living in Duisburg next to Cologne. I work as a commissioning editor for a German TV station being responsible for a slot called “Junger Dokumentarfilm” for first-time filmmakers. We work together with a prestigious film shool nearby Stuttgart called Filmakademie Baden Württemberg. So while I love directing and producing films, I also love to teach and to be involved with he next generation of filmmakers.

 

 

What are your favorite films, who are your filmmaking idols, and dream collaborators?

My favourite film festival is IDFA in Amsterdam. I love to hang out there in autumn and watch these incredible documentaries that directors from all around the world are giving us as a present. They risk their lives for us, and they are embedding themselves in situations and giving us thereby visual and emotional access to a world that we as an audience could never attend. This for me is a true beauty, but unfortunately only few people know about it and can therefore enrich themselves with it.

So, to answer your question, instead of singling out one idol, I am embracing all these filmmakers who are committing themselves to their vision of true storytelling under often precarious conditions.

 

What is one thing you’ve learned as a filmmaker that you think other filmmakers would benefit from knowing in starting their careers?

Try to overcome your own prejudices and be open towards your story and your journey. We often need to prove to TV stations and film funds with extensive treatments and exposés the quality of our stories. Even though I understand it and think that it is good and important to write your story down for potential commissioning editors, producers , investors and yourself, I really think you should never blindly follow through. If you stay open you will find your story line.

With War and Justice, I only understood at a very late stage that my point was actually your first question you asked me in this interview: That war itself may be the biggest war crime of all.

 

What is one message that you would like to share with audiences about your work, your general outlook on life, that you are interested in further showcasing in your films?

Never lose hope, and trust in people. Trust in your audience, trust in your protagonist, but most importantly, trust in the people that you are working with. If this trust would be abused one time, never mind. You will be rewarded by all the others who you have trusted in a million times.

---

by Ryan Rojas

Danica Jensen Confronts The Addictions That Haunt Us

Is it okay to cause harm if it means getting someone the help they need? This is the central idea writer-director-actor Danica Jensen explores in her light-hearted yet heartfelt short film, Get You Better. Based on a true story, the short follows a woman who is unable to submit her alcohol-dependent boyfriend to rehab on the technicality that he's "not drunk enough." The film explores the lengths we all go to in relationships to help the ones we love while battling addictions of all kinds.

In our exclusive interview, Danica Jensen (whose cinematic heroes include Taika Waititi and Mel Brooks) discusses her screenwriting process and challenges faced on set, what she hopes audiences take away from the film, her advice for indie filmmakers, and her future projects which may include the supernatural: "I do think that all stories are in some ways ghost stories."

 

It’s a pleasure to meet you, Danica! I understand that this story–about someone being turned away from a rehabilitation center because they weren’t technically intoxicated at the time of admittance–was based on a true event. What was the origin of that fascinating story, and what did you find compelling to turn it into a film? 

It’s a pleasure meeting you, too! 

So this was a story that my mother used to tell me. She was trying to get her friend into rehab for alcoholism and they said he wasn’t “drunk enough.” My mother was understandably outraged by that response, so she sarcastically asked, “If I bring him to a bar and then bring him back, you’ll take him?” And they pretty much said, “Yes.” That line ended up in the film verbatim. She was thankfully able to persuade them to take him then and there. But I was always fascinated by that line; what would happen if she couldn’t have convinced the rehab differently?

It posed such a moral conundrum that became the central question of the film: is it okay to cause this harm if it means getting someone the help they need? It made for such a compelling story that I just started writing it down, and soon enough I realized it would make a great short film… little did I know that it would resonate with so many people who have experienced something similar. 

 

What was your screenwriting process like? Do you have a specific method of writing that works best for you? What were your main influences and sources of inspiration while writing? 

Like many writers, I’m told, I have to trick myself into writing. I’ll set a timer for 20 minutes. Even if I only get one word down on the page, I’ve done my writing for the day, that’s it, that’s all I had to do. And usually, I’ll get in a rhythm and will end up writing for longer than that. But sometimes it’s just a word or two, and so it can certainly be a slow process at times. Once I have a draft I’ll get eyes on it and get feedback from a bunch of different places. Receiving and implementing feedback, I’ve learned, is a total skill set; you have to be careful that you don’t let people tell you what they want your story to be, but I think outside feedback is so necessary and makes the process feel a bit more collaborative. 

With this project, I also had a research period. I went to some open AA meetings and spoke with recovering alcoholics about their experiences with addiction generally, and with their experiences going to rehab. I wanted to figure out what the deal was with this “unofficial policy” preventing people from getting the help they were asking for… I wasn’t sure if it was a fluke or a common occurrence. It was really surprising to discover how many people had a situation similar to Wesley and Devin – I hadn’t expected that.

 

What ideas, themes, and messages did you want to ensure came through in telling this story on screen? 

I never want to be prescriptive as a storyteller. I want audiences to be in active conversation with the film and to bring themselves and their lives to that conversation. Whatever they get from the film is uniquely theirs. 

That said, this film deals with addiction, what it’s like to be in addiction as well as to love someone with addiction. And though this film deals with alcohol, it was also really important to show the addiction of love and codependency in relationships. That’s the universality that I held onto throughout the process – that we are, effectively witnessing a breakup between two people who love each other, but who cannot possibly be together. 

It was also really important to me not to tell the audience how they should feel at any given moment. Sometimes you’re really on Devin’s side, sometimes you’re really on Wesley’s, and so I kept a keen focus on that balance throughout the entire process. 

 

 

How did you go about assembling your crew? 

I worked for two and half years as a production assistant in television, so my fellow PAs were my first call. Having that rapport and trust off the bat made the shoot go so smoothly. Everyone else came on board as a friend or friend-of-a-friend… a lot of folks I had worked with before in theatre, like our Production Designer jbroc and Costume Designer Emmy Weissman… Our DP Logan Floyd went to high school with my Co-Producer (and Co-Star!) Baldur Thor, so they reconnected and we hit it off. Logan was such a critical piece of the puzzle because I had to go off the monitor so often to perform, and I trusted him not only to set up incredible shots but to keep an eye that the story we were telling stayed on track. 

What we had set out to do, and where I believe we were extremely successful, was to assemble a crew that is just really good, kind, wonderful-to-be-around people. Talented, of course, but prioritizing a set where the people are as kind as they are talented, made for the best on-set experience I’ve had to date.

 

Impressively, along with writing the film, you also starred in, produced, and directed it. Did the story or characters change at all from the writing through shooting it?

Oh for sure. They say you make a film three times: in writing, in production, and then in post, and this project was no exception. Once we had locations locked, little things had to change. One of the big changes that comes to mind is a scene where Wesley is supposed to have a whole dance sequence on top of the bar. The bar we went with didn’t have high enough ceilings to do that, so I had to rewrite how that whole sequence happened without losing the essence of the moment. 

Then when we brought actors on set, moments changed and lines changed. Once I’ve written something and handed it over to actors, they become the experts of that character; I love to see what they want to bring to the role. The whole process of filmmaking to me is about discovery – discovering what the film wants to be – so I listen for that and as long as I’m confident in the bones of the story, I really like to find the freedom to play. And that means that things do change along the way. 

 

I’d love to hear about your method of performance. Can you share anything about your process of preparing a character? What in your opinion makes for a great performance? 

Great performances, I think, are simple and honest and oftentimes surprising. As a director, I love it when actors find something a bit unusual or not-so-obvious about a character or a moment in a scene, and as an actor, I always look for those creative moments too. 

I don’t subscribe devoutly to any single methodology of acting, I trained in a variety of different methods, and to me, they are all tools to be used when the right challenge arises; you wouldn’t use a hammer to paint a house, or a paintbrush to drill holes in the wall. A great teacher once told me that your technique is only meant to be used when things aren’t clicking when you need a little help to figure something out, and so that’s always been my approach. I come from a physical theatre background, so I do tend to gravitate towards Grotowski, Laban, and Suzuki – I prepare a character through the body first and go from there. 

With this project specifically, I didn’t have to do a whole lot of acting prep because of all of my directing prep and writing work. A lot of it overlapped, and I felt I knew this character better than just about any character I’d ever worked on, by spending over a year with her in the writing process.

 

 

What obstacles did you face throughout making the project? What was the hardest challenge to overcome, and what was your most unexpected breakthrough? 

I mean, don’t get me wrong, producing a film is literally about solving one crisis after the next, and we had all the usual obstacles; losing locations, chasing daylight, etc… but I think it’s a huge testament to our crew that we made our days and had a really enjoyable, smooth time on set. The most stressful thing that happened was Day Zero… our Producer’s car that was supposed to transport crew members and part of our gear rental had its carburetor stolen in the middle of the night and we had to find another car… but hey, that’s why you have contingency and I’m honestly really grateful it happened before we got on set because it was pretty smooth sailing from there. 

 

Is there any scene in particular that you are most proud of, or think back on fondly? 

There’s a scene where Wesley goes into the bathroom of the dive bar, and the bathroom we shot that in was actually the men’s room of a senior living home… in other words, it was super bright and super pristine. So first thing we did top of day one was graffiti the entire bathroom with expo markers and bathtub paints and everyone on the crew pitched in – there were inside jokes all over the walls and it was such a fun way to start the shoot… I’m just so thrilled with how it looks on camera and it looks nothing like the original bathroom – I love dramatic transformations of space. 

 

What takeaway do you hope audiences will have after watching your film? 

I know that everyone’s takeaway will be unique based on their own life experiences. But of course, there’s an aspect of wanting to raise awareness about this culture of “means testing” in our social and medical programs – that is, that you have to hit a certain “rock bottom” before anyone is able or willing to help you. 

Universally, though, I hope people can ask themselves what they would do in a situation like this, how far would they trudge into the moral gray area if it means saving the person they love?

 

What is the future of this film? Do you have any future creative projects? 

We just had our World Premiere at the Provincetown International Film Festival, so right now we’re focused on the festival circuit and getting to share this story with as many folks as possible. I had intended for this to be a one-and-done short, but so far we’ve had a lot of responses hoping for this to be a feature, so we’ll see! 

I do have a horror-comedy mockumentary feature in the development pipeline, that I’m hoping will be my first feature. 

 

Let’s get to know you better Danica. Where are you from, and where do you reside? 

I’m rather nomadic, I split my time between NYC, the Hudson Valley, and Provincetown, MA. 

 

What are your favorite films, who are your filmmaking idols, and dream collaborators? 

Oh, man… Beetlejuice & What We Do in The Shadows are right up there. I’m a huge fan of Taika Waititi & Edgar Wright & Mel Brooks… no surprise how the horror-comedy theme emerged in my work. I would drop everything I’m doing for the opportunity to collaborate with them! 

 

What is one thing you’ve learned as a filmmaker that other filmmakers would benefit from knowing in starting their careers?

You need to arrive on set so prepared – more prepared than you even think you need to be – but never stuck in a fixed mindset. As much as you need a plan, you need to be able to let go of the plan. And I think that’s easier to do when you surround yourself with the right people on set. 

 

What is one message that you would like to share with audiences about your work, your general outlook on life, that you are interested in further showcasing in your films? 

All of my work in some way, shape, or form always comes back to ghosts – directly or indirectly. I am not sure what message that holds for the audience, per se; ghosts deal with invisibility and powerful forces, the past, and hauntings…. I do think that all stories are in some ways ghost stories. What I know for sure is that ghosts are something that endlessly excites me, which I guess is my message to the audience: find something that you’re endlessly excited about – dare I say obsessed with – and share it with the world.

---

by Ryan Rojas

Ian Ebright Boldly Examines Our Competitive Human Nature

We as human beings can be competitive creatures, and sometimes obsessively so. Ian Ebright is not afraid to confront those darker truths. A Seattle-based filmmaker, Ebright explores these ideas and themes in his first feature as writer-director, The Way We Speak, which Cinemacy called “a rich character study… with a script that Aaron Sorkin would likely tip his hat to." (Watch the trailer here)

Related: 'The Way We Speak' Review: A Cautionary Tale of Obsession

In our exclusive interview, Ian Ebright discusses his screenwriting process, the challenges and triumphs faced as an indie filmmaker, and what he hopes audiences take away from the film. "I miss films that were memorable for their stories and characters; that helped me understand myself and the world around me a bit more. So for people who share a similar interest, I think The Way We Speak and my other films will be worth their time,"  Ebright says.

 

It’s a pleasure to meet you, Ian! I’d love to learn about the origin of your new film, The Way We Speak. When did you first conceive this story?

Good to meet you too, Ryan! The Way We Speak came about as I was marinating in two documentaries I love, Best of Enemies and Life Itself,  while doing what writers do, which is notice the world around us. At the time, it was the #MeToo and Black Lives Matter movements. 

 

What was your writing process for this film like? Do you have a routine or specific method that you do?

My process is pretty methodical because, without structure, I have a hard time knowing where I am in terms of getting the story right and completed. I usually write per act and then revise per act until the three acts congeal more or less—not that it’s good yet, but cohesive enough to feel my way through it.

Then I’m going back through doing targeted or spot revisions to the whole based on things that are feeling off, like beefing up one character or augmenting my theme throughout. Finally, I get to the printed copy phase, where I’m off the screen and can hold something, mark it up, and fine-tune things. Along the way, I get feedback at intervals from trusted friends, family, and filmmakers. 

 

What ideas, themes, and messages did you want to ensure came through in telling this story on screen?

There's a lot in there, from the screenplay to conversations with the cast and the ways they helped improve what I wrote. The cast and crew and I poured our best into The Way We Speak, and I think it’s a film exploring some timely things, like the consequences of unchecked ego, obsessive competition, and tribalism.

It’s a story that’s wrestling with the difficulty and the importance of seeing ourselves and others more clearly, not just in terms of perceived advantages or disadvantages.

 

What was it like working with your lead actors, Patrick Fabian, Diana Coconubo, and Kailey Rhodes? What was the rehearsal process like, as well as shooting? Did you discover anything new about the story while working with them?

Working with Patrick, Diana, and Kailey was one of the highlights of making this film. We cast them because they were a perfect fit for their character, but it was getting to know them that made everything that much better. They turned out to be whip-smart, perceptive, funny, and just great people, which makes collaborating a joy. 

I had Zoom meetings with each of them before we arrived on set—a great opportunity to hear from true performers about any things that weren’t quite there in terms of their characters. From those meetings, I revised the screenplay again, and that got us closer to the target once we were shooting. 

Rehearsals were great; by then we all had a shorthand, so it was quick, pretty painless, and usually had more to do with physical limitations like blocking for a location. There were a couple of instances where things were askew for them on the day, and they’d let me know if something in the scene wasn’t working, which I’m so grateful for. I’d rather have the “pain” of fixing story beats in real time on set than the pain of living with an inferior finished film. And that was a wonderful reminder of how much better good actors make a story; they always understand their characters deeper than the writer.

 

https://www.youtube.com/watch?v=U5oWUrPTeCw&ab_channel=BrokenTelegraph

 

What obstacles did you face throughout making the project? What was the hardest challenge to overcome, and what was your most unexpected breakthrough?

Locations were easily the biggest obstacle because it was the holidays, and for whatever other reasons, we had a hell of a time getting locations to commit. When we finally secured our schedule to shoot at Portland Community College, my stress level went down a few notches.

A large portion of the film was to be shot on location there because it had four of our recurring settings in and around their performing arts auditorium—a fifth location, and the centerpiece of the film where the “God or no God” debates happen.

 

Is there any scene in particular that you are most proud of, or think back on fondly?

For sure. Late in act two, there’s a backstage scene with essentially no dialogue between Patrick, Kailey, Ayanna Berkshire, and Lowell Deo, and it hums just right for me—subtle performances, story crescendo, cinematography, and music. When I watch it now, I feel what I was hoping the scene would accomplish: an ethereal tension and some of the drama between characters paying off. 

It directly leads to one character’s outro, played by Ayanna. She and I worked together on improving the monologue for that scene over some long, honest, and vulnerable conversations. We were aware of the pitfalls, of how easily that scene could become something we didn’t want it to be, and I think we not only avoided those pitfalls, but we brought the dialogue to a really special place—and Ayanna’s performance in that scene is mesmerizing. 

 

What takeaway do you hope audiences will have after watching your film?

I like films that challenge me and get under my skin a bit, even while there’s redemption, and I hope audiences have that experience with The Way We Speak. And I hope audiences feel they watched a compelling story that was well crafted. 

 

Let’s get to know you both better. Where are you from, where do you reside?

I’m a born-and-raised Seattleite. Still here! 

 

What are your favorite films, who are your filmmaking idols, and dream collaborators?

My filmmaking idol is Martin Scorsese and it would be a dream to collaborate with him. Martin, if you’re reading this, please executive produce my next feature. I’d say the same thing about Werner Herzog. My favorite documentary is probably Herzog’s Grizzly Man. Up there on that short list is Sideways, my favorite comedy; Die Hard, my favorite action film; and Moneyball, maybe my favorite all-around movie. 

Another dream collaboration would be being a writer and director on a Vince Gilligan and Peter Gould series. It’s not because Patrick is the lead in The Way We Speak that I say Better Call Saul is one of the best television series of all time, way up there with greats like The Wire and Chernobyl. 

 

What is one thing you’ve learned as a filmmaker that you think other filmmakers would benefit from knowing in starting their careers?

I think the fact that my first feature is arriving 10 years after my first short film came out might be an answer. Patience and perseverance are never fun at the moment, but I think they’re necessary—especially these days when everything is in transition and there’s so much collective despair and confusion about what to do next.

In some ways I don’t fully understand, that time is often needed to help our stories ripen and become their best. Although I’d like that to stop being so true.

 

What is the future of this film? Do you have any future creative projects?

The Way We Speak will be out on VOD in the U.S. and Canada on July 23 from Gravitas Ventures, which I’m excited about. And I’m finishing the screenplay for a feature I’m working to direct next, an unapologetic ghost story that’s still very much my approach to things, in that it’s topical and ultimately exploring human nature at its best and its worst. 

 

What is one message that you would like to share with audiences about your work, your general outlook on life, that you are interested in further showcasing in your films?

That’s an interesting question. I guess I’d say that I make the kind of films that I want to watch; films that aren’t around as often as they used to be. 

I aim to make films that are story-driven and geared toward thoughtful viewers. More classically structured. I’m tired of all the narrative stuff that has a hook or a concept and little else, and I miss films that were memorable for their stories and characters; that helped me understand myself and the world around me a bit more. So for people who share a similar interest, I think The Way We Speak and my other films will be worth their time.

For more, visit Facebook, Instagram, and Ian Ebright's website.

---

by Ryan Rojas

Evelyn Lorena Explores Identity, Heritage, and God

An actor, writer, and director of Latina descent, Evelyn Lorena is a filmmaker who seeks to explore the largest questions of life through her art. Identity, heritage, and even God are just a few topics that the up-and-coming star explores in her new short film and directorial debut, Gabriela.

In our exclusive interview, Evelyn talks about writing and starring in her directorial debut as an indie filmmaker, as well as portraying Latino representation onscreen in an empowering light, and the underlying forces that connect us all: "I really love the idea of fully exploring the meaning of love — and I don’t just mean the proverbial getting together with someone, but what love really means beyond ourselves."

 

It’s such a pleasure to meet you, Evelyn! I’d love to learn about the origin of your new film, Gabriela. When did you conceive of this story?

Thank you, such a pleasure to be interviewed. I truly appreciate Cinemacy and I love the filmmakers you’ve been able to feature! 

I feel as if Gabriela has two origin stories. I originally wanted to see a very real-feeling film about the Latino/US immigrant experience, but with a focus on their inner life. I found the stories told about Latinos – if any – had the burden of portraying the experience of how they entered the United States. The struggle of the journey over the border — and while that is a very real part of many of those in the Latino immigrant experience, I felt the experiences of Latinos were far more vast than that, particularly when it came to the vitality and spirit within our community.

I was confused why I wasn’t seeing the more human aspects explored, the way some of my other favorite films explored their characters. I thought pushing that expectation and conventional narrative and bringing it on a journey to another place would be interesting. And the second origin came a little bit later once I began encountering some very dire health issues. At the time, I constantly contemplated the true meaning of freedom: who creates it and how we create it for ourselves, especially in systemically constricting environments. I really wanted the lead character to embody the nuance and complications that come from an experience like this. It isn’t just about the hardship, but when there is hardship, there can be a lot more beneath the surface of our perceptions, and there can be a lot of cultural and personal richness that can be overlooked because of those preconceived notions we have of others.

And it was important for me, as it is to our community, that despite appearances we find ways as humans to value ourselves and reconnect to those things. Things we are encouraged to forget or erase, like our heritage or inner lives, in order to assimilate or “fit in.” I suppose I’ve found that looking for that exterior validation can be the most toxic of things, and actually reclaiming something for yourself and cultivating self-acceptance and self-validation creates more of the personal freedom we’re all looking for.

 

What was your screenwriting process like for this film? Do you have a routine or specific method of writing that works best for you?

Hmm… I feel the routine of creating something for me goes to crafting creative spontaneity versus having a particular structure each time. I come at writing the same way I come at acting I think — because it’s the only way I know how to craft a character or story. I don’t see it that much differently, but that could be because I just see it through a performing lens. That’s how I have moved through this industry primarily, as an actor. I feel a lot of the process is intuitive if that makes sense.

(I’m weary to describe it at the risk of sounding pretentious like a faux spiritual guru or something, haha. I swear my efforts are genuine!) But, I guess for me the first step is to feel something and really try to understand a story without judgment — like truly looking at it as if it were myself in that position as if the experience were coming out of me. And, not the person that you and everyone else knows, because it’s not you, and it shouldn’t be “you,” but more as if that particular point-of-view is now yours. … then you get reminded there is no real “you” anyway … SEE? It sounds really crazy, but I also guess that’s empathy.

They have to be real people on the page first: the people you see walking around really believe the points of view they carry. I’m not entirely sure how I or anyone else achieves anything creatively. It’s a strange sort of intuitive magical exercise, and again, I hate saying that because then it feels precious or elitist — and it’s not! Art is for everyone. It’s just that you’re praying it works out or the stars align. I think the process can only be understood through the experience of it.

 

What ideas, themes, and messages did you want to ensure came through in telling this story on screen?

I really loved the idea of water as this force with many layers. Almost as if the thread of “God” is in the water. Whatever that means to someone. I feel like God has been traditionally portrayed as this force, or rather a man, in the sky looking over us — away and separate from us. But I feel like that’s a very limited idea. It can be the father figure, but it can also be many things too. Maybe another idea of God can be just the thing that holds us together. Or even inner guidance.

There’s this new concept in quantum physics that talks about an invisible layer that holds realities together and it really reminded me of what I’m talking about. I’m not trying to throw any kind of blaspheme here, just trying to expand on these conventional and at times controversial ideas. I really don’t think we have to believe something in a certain way, but I think that in the film, the water acts more as a thread for Gabriela to reconnect to those etheric forces we hold in our life: things like identity, heritage, her inner nature, or even God itself. All of that is very personal and becomes a very personal understanding of those concepts and I wanted that inspiration or reconnection to begin with the water.

 

Gabriela is such a personal story, about a young undocumented Guatemalan woman pursuing her dream of swimming in a country club swim team. Was it difficult for you to write and confront these issues of marginalization, economic status, and self-acceptance?

Marginalization is such an interesting concept to me. I’ve found when you speak to people within immigrant communities, there’s not a lot of room or time for self-pity or victimhood. Generally (or in the case of my family) they’re focused on survival and moving forward. They’re humble, motivated, resourceful … and I think that’s instilled throughout the generations. They’re not perfect, but they are human. Vastly human. So, it’s always interesting to me to hear “marginalized” because it’s really only how someone else is socially conceiving the community as “other” or less-than, but that couldn’t be further from the truth. 

I’m certainly not trying to preach, but there is so much cultural richness and capacity there. They aren’t marginalized in spirit. It’s more how society has deemed them, sometimes out of convenience, social power dynamics, or in many cases the actual law. I think that’s where part of the marginalization comes from — perception (among other things) — which to me again is sad because there is so much humanity present within the Latino & Indigenous communities.

I think that’s one of the sources of frustration for Gabriela in the film. She can’t see why there are barriers to her existence because she is just as human as anyone else. The journey is not literally about the swimming, or say, her being entitled to anything. It’s about her essentially asking for access to opportunity, to be seen as a human in all aspects of her life – even to herself. The trouble is being forced to feel less than when you aren’t. It’s a deep invalidation. I’m sure we can all relate to that.

But, I think that is what made confronting these topics and writing the story an exciting process, even if the nuance involved felt difficult to accomplish. Empowering someone who perhaps traditionally, especially in media, has been portrayed as second-class, or with throw-away humanity, and creating a story that shows otherwise. Empowering Gabriela within the story for herself and her heritage was important and very personal to me because it mirrors my own journey. I hope it can mirror the journey of others and stir something within the audiences that see the film in that same way. 

 

Along with writing and directing the film, you also star in it. When did you start acting, what do you like about performing that differs from writing and directing, and what was it like to direct yourself?

My first play was in 5th grade as Dorothy in The Wizard of Oz. Haha. But after that, I was encouraged to focus on my studies and it was a bit of a painful road to convincing my parents this was a viable thing until it wasn’t. Eventually, they understood — I think. Sometimes parents need a little reassurance because they want the best for you and don’t want to see you fail or struggle.

I love performing because you really get to express something so viscerally. It’s why I started writing because that desire to express another point of view or experience is so strong. I really love the idea of knowing what it’s like to be you. It’s interesting to me because I don’t really believe we’re all that different. It’s just identity, the packaging, that’s different sometimes.

I feel really connected to others and I suppose that’s what led me to direct as well: to connect to other people and also because I had such a specific idea of how I wanted the story of Gabriela to be told. It didn’t feel too odd to direct myself, because I think on some level actors have to learn to self-direct whether it be in auditions or otherwise. You end up having a grasp of directing, so it was about translating that process to set.

That is absolutely not to say that directing is easy, or a throw-away, or that anyone can do it. I have so much admiration for directors that it still feels difficult to call myself that because I’ve seen the work it takes to make a great film, and of those I admire, it still feels like a mystery to me. 

 

What was the rehearsal process like, as well as shooting? Did you discover anything new about the story, your character, or yourself while working with your actors?

The right actor can really understand your words. I felt so fortunate I found the people and the actors I got to work with. I had a really specific idea about the dynamic of the relationships — and of course, you don’t want that to close yourself to other ideas, but I was floored at how Maria and Viktor were able to express that so specifically and seamlessly. It was so wild, especially since I hadn’t worked with them before. Production can carry so many variables and technical difficulties on its own, so having them understand their characters so well was just beautiful. I’m really grateful to them for their talent.

 

What obstacles did you face throughout making the project? What was the hardest challenge to overcome, and what was your most unexpected breakthrough?

Creating the water sequences. Not only because it was a limited budget, but the specificity of the water had to be shot in a way we could control it, so we opted for the dry-for-wet setup. I absolutely love what our resourcefulness came up with. I have to thank the stunt coordinators Brett Copes and Constance Palmer, alongside the Grip & Lighting Team of Ben Davis & Bean Brambell, and production designer Emily Marquet, as well as the former Screen Gem Studios. Without them, it really wouldn’t have been possible.

I guess the second biggest challenge was also being mindful of my health while shooting and shooting the water sequences because I was undergoing some medical treatments alongside filming. That was a novel challenge.

 

Is there any scene in particular that you are most proud of, or think back on fondly?

I love the ending beach moment. It really captured for me this idea of generational reconciliation not just for Gabriela but for her family, her people — and trying to express that through a simple and singular image of them standing together. I have to give additional credit to my director of photography Xenia Patricia. She was crucial in that with me.

 

What was it like to win the Netflix and Latino Film Institute’s Indigenous Latino Fellowship?

Oh, it was so beautiful and a welcome surprise. I wasn’t sure what my next move in the industry was. In fact I was contemplating leaving because so many personal things were happening that I needed to take care of and I was just going to overwhelm myself continuing, but then this was almost like a divine intervention.

I am really grateful to the Latino Film Institute and Pete Corona, the fellows, and all the mentors who championed our films. My relationship with my fellow filmmakers feels like a family and the guidance I received made this film what it is.

 

What takeaway do you hope audiences will have after watching your film?

I really want them to take whatever they want from it. It feels almost like it’s no longer my film! I can’t and wouldn’t want to dictate what should be taken from it. But, I suppose if I had to narrow it down, crafting more empathy and understanding of another person. We’re all human and I find it strange that we can look at other humans differently than the grace (or lack of grace) we give ourselves. 

 

Let’s get to know you better. Where are you from, and where do you reside?

I’m originally from Wilmington, NC where Gabriela takes place. I go between LA and Atlanta now since the industry moved everything down there. I really enjoy being able to travel, it’s one of my loves in this industry. The people and places you get to know. 

 

What are your favorite films, who are your filmmaking idols, and dream collaborators?

Lars Von Trier, Sophia Coppola, Paul Thomas Anderson … Gosh, there are so many, to be honest. I value and love cinema so much, it doesn’t necessarily have to be someone seasoned. Right now my favorite film is Phantom Thread. So I suppose it would be lovely to have tea with Paul Thomas Anderson. (But I feel like that’s everyone’s answer.)

 

What is one thing you’ve learned as a filmmaker that other filmmakers would benefit from knowing in starting their careers?

Gabriela is my directorial debut, but my advice would be to watch great films over and over. No matter the genre. I was watching Jurassic Park the other day, and action isn’t usually my first aesthetic, but the film is just so well done. It’s beyond an action film. Down to every detail. I really admire being able to be that focused on detail and also still achieve the bigger picture. It’s really masterful.

I cry when they’re leaving the island, and leaving behind the majesty of the whole thing — and you’d think I’d hate the island experience because it’s done so much damage, but you also see the conflict of leaving behind this epic beautiful thing the park tried to achieve. It’s so good! I’ve seen it so many times.

 

What is the future of this film? Do you have any future creative projects?

I am working on a couple of things at the moment — I don’t like speaking too much on something before they’re finished, but I am really moved by the subject matter in and the capacity for nuance in them. I hope others will be as well. Gabriela is screening at more festivals over the summer and you can follow the film page (@gabriela_film) for more updates. We have a screening I also can’t announce yet coming up in August that I am absolutely thrilled about.

 

What is one message that you would like to share with audiences about your work, your general outlook on life, that you are interested in further showcasing in your films?

I really love the idea of fully exploring the meaning of love — and I don’t just mean the proverbial getting together with someone, but what love really means beyond ourselves. Spiritually, existentially, through our communities, or even in the moments we place strong boundaries because of love. It’s what creates empathy too. It’s everywhere. It’s the fabric and the thread throughout our existence ... I may have just understood another layer to Phantom Thread! (You’ll have to see it.)

 

---

by Ryan Rojas