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.

 

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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.

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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.

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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.

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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.)

 

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by Ryan Rojas