Sat. Apr. 28, 12:20pm
FUTURE TIMES AND GOOD OL’ DAYS – SHORTS BLOCK
THE ZONE – SHORT NARRATIVE

Synopsis: A young woman turns to sport hypnosis to improve her boxing skills and faces the challenge of an underground fight that may change her life. Denisse Bon; Anthony Ray Parker; David Tirado; Sarah Brown; Monica Azevedo, director. Boxing. USA

 

“First of all, I’d like to express my appreciation to the Artemis Women in Action Film Festival’s team for selecting our short film for its 4th edition. It’s an honor to be part of an event that celebrates woman power, which is something I always believed and advocated. Thank you, AGENDA magazine as well for this great opportunity to let people know about the process of making The Zone, this little-but-loved creation of ours that is definitely helping us to build ours careers.”—Monica Azevedo

Questions by Kaylene Peoples | Responses by Monica Azevedo, Director

1. Monica, you are originally from Brazil. How would you compare filmmaking from your home country to filmmaking here?

Well, there is a huge difference. In my home country, there isn’t a film industry. There were very creative moments in its history here and there, but we make movies in Brazil mainly out of passion because there isn’t enough financial support. Crowdfunding is still a relatively new practice here and it’s not the best alternative if you have a seven or even an eight-figure project. We depend on incentives laws and most of the time, the filmmakers who benefit from them are the ones who have already been in the market. Nowadays, it has been even more difficult, when a so-called soft coup has been carried out in my country and it has been taken over by corrupt politicians who want to benefit a small percentage of the already rich people and penalize the poor segments. They disregard social inclusion, let alone the arts, which has even been censored lately. I defend the socio-political responsibility of the arts and it will for sure be a trademark of my career. As an artist, I believe we cannot turn a blind eye to the serious problems of our world. But I’ve gone way off topic here, sorry.

So, despite the fact that there is a lot of competition in terms of filmmaking in the U.S., particularly in California and Los Angeles, it’s incomparably easier. That is still the place to go if you want to make professional movies. Nowadays, we have many opportunities to do so thanks to the Internet. You can shoot a movie in Brazil, India, Africa and still stream it to the world online through Amazon, Netflix or other online services. But if you want to make great quality movies, you will need adequate equipment, to start with. How can you get a great sound without a great mic? Sound is extremely important. I was amazed when I moved to L.A. I was surrounded by places where I could rent a good quality camera or a great boom and Lavalier mics for a very good deal. You don’t find this kind of thing in Brazil. Well, maybe there are a few options in Rio or Sao Paulo, but not in my city, Belo Horizonte, which is actually very close to those cities. You’ll certainly find talented people to count on, like actors also willing to work for free like in L.A. and maybe a few skilled people for your crew, but in terms of equipment, you are on your own in Brazil. Some people have their own camera and you might be able to borrow or to rent them, but these are rare cases. Or you can use equipment from schools that offer filmmaking classes but even those are scarce. I learned a lot when I went to the U.S. to study in California’s film schools. Getting funding for your projects may still be an issue even with many crowdfunding options nowadays. But if your goal is to make feature films or TV shows, there is actually a chance that you find yourself in the right place and the right time at some point if you stay in Los Angeles. There still are people over there with enough money and vision to invest in your ideas if they realize that you have enough talent.

2. Would you say that being an editor gives you an advantage as a director?  If so please elaborate; and does being a journalist give you more insight when directing a film?

Yes, absolutely. It does give me advantage because you end up thinking like an editor and you just can’t avoid this once you learn the techniques. You are even more conscious of the importance of the shots, the need for the right angle, the right timing, how to explore the precise emotional moment of the actor. You pay more attention to continuity, you are more aware of the sequences of the story, what comes next, where did your character come from. You don’t repeat takes excessively, which is an editor’s nightmare, you learn to save them, to rehearse more whenever possible. Having a good understanding of editing helps you to be more efficient, more precise, more objective when shooting on set. And, of course, it involves intense planning beforehand. I admire Orson Welles’ cinematography and editing style and how he shot Citizen Kane. The angles, the tracking movements, the crane shots, they are all amazing. That man was a detailed-oriented person, a perfectionist. He brought to the table a whole new way to emphasize the story and go deeper into the characters’ personality, he knew what he wanted his audience’s eyes to capture. You learn a lot as you watch the movie… I enjoy editing so much that when I have some free time, I even make silly fanvids just for fun, using clips of TV shows that I love, like the outstanding Australian TV drama Wentworth, currently.

As a journalist you are expected to be well-informed, to try and understand the world’s events and analyze what’s happening around you. For example, it’s clear to me that our world is taking a dangerous step back towards fascism and as a journalist, you are compelled to write about it, to warn people against it, and that certainly involves your vision of the world. And people are encouraged to interpret that reading and have their own opinion.

This kind of perception certainly influences your choices while dealing with a new project. You consider if a subject is relevant or not, if it may attract interest, and you go after that story so you can write passionately about it, and if you are lucky enough to have it produced, you go above and beyond as a director to be truthful to the vision that that story inspired you to have.

I always say that the clearest way journalism helped me was teaching me to write well. I am mostly a writer who wants to direct. And I’d rather use fiction to denounce reality. It’s not only because I’m disappointed with the mainstream media, which can’t be farther from the real essence of journalism sometimes; particularly in Brazil right now, it has been an instrument of the government to control and manipulate people, instead of investigating the truth and providing them with facts. When you bring an important real-life issue to the big screen, you can enhance its impact as you are able to conduct the eyes of your audience, deal with their emotion, show that story sometimes with excruciating details as you also have control of the pacing… I believe the use of fiction can help tremendously to raise awareness about such subjects.

I believe that my background as a Journalist also helps me to deal with people sometimes. When you are investigating facts for a good story, you study people’s demeanor, realize what’s behind an attitude, you think about how to move them, how to say the right word to get the source to collaborate, how to find out if they are telling the truth or not. It works on a movie set as well, as you deal with your co-workers from the cast and crew. Earning their respect and confidence is key to build a good environment.

3. Tell me about The Zoneand what it was like directing the cast?

The Zone was born because I was supposed to make a short film for my graduation at UCLA Extension. But the thing is, when I start writing something, it becomes a novel. So, I asked my roommate by then (Denisse Bon, the lead actress who worked previously with me in a couple of short films) if she could help me. She had this idea mostly based on a music from Rocky IV and I asked her to tell me. I liked it so we started working together on it. We started writing the story, then I created some storyboards and last thing we knew, the project was taking off. The idea was a little ambitious to put into practice, but very interesting. The Zone is about Olivia, who has been trying unsuccessfully to improve her boxing skills so she can win a top-dollar competition and solve some of her everyday issues. When a friend introduces her to a sport hypnosis specialist, Olivia starts applying the technique to her training. After a test, impressed with the results, her coach advises her that it is better to take the experiment to an underground fight. That is when Olivia has a real opportunity to show her newly found power – with unpredictable consequences. Like I use to say, our short film is an amusing and somewhat cheesy action-packed production but if you get creative, you can even visualize the potential for The Zone to become, maybe, a webseries or a TV show? Yeah, I know, I dream too much…

We were blessed in counting on a very talented group of actors. As far as directing them, I’ve got be honest, it was intimidating at first as much as it was thrilling. When Denisse and I were in pre-production talking about the scenes, Jared, who was our DP, suggested that we shot the most difficult one first, which totally made sense because people involved were at their best in terms of excitement by then. And it was the first time I was involved in such a big production, I mean, I had around 10 actors on set at the same time, not to mention all the background ones, and about 10 crew members, al working on the script’s longest scene, an action sequence. I was excited when I got there, but seeing myself in the middle of all that good chaos, made me nervous at some point. I had certainly directed before, but no more than a few actors per scene, helped by a small crew, so it was overwhelming to be surrounded all of a sudden with the cast and crew asking me a lot of questions almost at the same time, dealing with egos, worried about the time, and still trying to solve last-minute issues as the co-producer on location. I had prepared myself intensely during pre-production, but being on set, is a completely different animal. We’ve got to be ready for the unexpected, as much as it sounds contradictory. And I’m a calm person, you won’t see me yelling on set, unless I’m very, very angry, and I hope I never get to this point. I’m more like Clint Eastwood who usually just says to his actors in a soothing voice while directing: “whenever you’re ready”, instead of “AND ACTION!”. This is my style and it will ever be, I believe. You can be calm and still have things under control. But you definitely have to do your homework. So, Jared was my voice on the set. Since it was an action sequence, I was focused on making sure that the images that we storyboarded and discussed previously scene-by-scene during pre-production matched the ones I actually saw on the monitor during the shooting. Besides, it was Sarah’s time to shine as a stunt coordinator and choreographer and show what she’s good at. Anyway, directing is a very rewarding job but it’s also very stressful. It must be something you love to do and you’ve got to be ready to take the bull by the horns sometimes ’cause it demands strong leadership and great communication skills. We made The Zone with passion, love, sweat and even with a little bit of pain, but we can say now that this baby is born that we’ve been proud parents. And I’m still learning. But, like director Matt Harrison, my UCLA’s instructor said once, if you surround yourself with great professionals, they’ll make your job easier. I was lucky enough to have them in the making of The Zone.

4. What was your favorite part of the film?

Choosing my favorite part of the film has to do with a personal trait that I believe will be a trademark of my career. I love working with emotional scenes. The Zone is far from being a drama piece, which is my favorite genre, so it definitely wasn’t my cup of tea as much as I enjoyed making it. I love to write, direct, and produce drama. So, my favorite part of the whole movie is a single scene when Olivia, after being excited about a fifty thousand dollars competition, is mercilessly defeated in a training session by her opponent, Sarah, and goes down the stairs disappointed to meet the coach, Bravo. Their little exchange there, when he realizes her anxiety and gives her some advice compassionately on how to become a better fighter is my favorite part. There was a genuine share of emotion when we shot that scene and it was great. I really love working with moments like that. I learn so much from my actors. Denisse herself amazes me with her emotional performances, every time we work together. I love my actors and their ability to surrender to the story, to become their characters on that moment and it’s a great responsibility and pleasure as a director to protect and encourage them during those scenes when they are very vulnerable.

5. What challenges have you faced as a woman director and what advice would you give to an emerging female filmmaker/director or producer?

 Please bear with me if I digress a little from the director perspective and answer your question mostly as a filmmaker. As I mentioned previously, after finding myself with a passion for filmmaking and no opportunities to make movies in my country, I decided to move to the U.S., and, of course, I chose Los Angeles, California, as my destination. That was the best decision I’ve ever made, despite all the problems I faced inherent to that kind of choice, the worst being living far away from the family. Once you decide to move to another country, you will always feel torn between your career and your loved ones. Especially when there are strict immigration rules that make it hard for you to bring them.

Speaking of immigration, as you may know, if you come to the U.S. with a Visitor Visa, you have to leave the country every six months, which is impractical. So I decided to apply for a Student Visa, which would not only allow me to stay but also learn the craft of filmmaking at the same time. Technically, you can remain in the country as long as you keep studying. The downside is that you are not allowed to work, except in very restricted circumstances. Since I had sold my apartment and my car to come to America – and never regret it, I was okay for the time being.

Meantime, the hardest situation I faced was finding funding for the projects I started developing in school. I had in my hands once a wonderful play of an Academy Award nominee author and the option expired because I couldn’t find investors. I didn’t know enough people with a good set of connections and as they say, networking is the key to success in this business. If you do and you have talent, you’re halfway there. But if you don’t, you’ve got to continue working hard, meeting new people and depending on a good amount of luck. Competition is fierce, but, c’mon, you are living in a city that breathes cinema. There are millions of people in L.A. pursuing the same dreams and I know it will sound cliché, but I do believe if you try hard enough you will make it. An opportunity may be coming your way. The last key on the ring may be the one that opens the door, says my compatriot Paulo Coelho.

And something might be wrong with my timing according to my charismatic friend Erwin McManus and I’m inclined to believe him. I wanted to continue trying, but I had more urgent problems to worry about than finding funding for my projects. I’ve got to the point where I couldn’t even pay for school anymore and I ended up having my Student Visa revoked. Making a long story short, I’m now banned for entering the U.S. for quite some time.

But I’m not done yet. I don’t give up. I can’t. I’m a Taurus and persistence is in my veins. I still have plenty of ideas to make movies or TV shows. My mind know no boundaries.

The Zone, that today is the reason for this interview, waited eight years in the can, before being selected by the Artemis Film Festival’s team and I made it while I was living in Los Angeles. I have no control about what will come from that, but I have a good feeling about it.

So, since I consider myself an emerging filmmaker, I can only say to my colleagues, just keep going, don’t give up, if directing or producing is something your soul craves for, you won’t be happy until you do it and we must pursue happiness in life because this is what we were born to do. Don’t settle for less. You don’t want to be among the ones that look back in life and regret for not having at least tried.

6. What were some of the highlights of working on The Zone.

Well, we faced a real bummer when we shot this film eight years ago. Since Denisse’s idea for The Zone was mostly based on the music War from Rocky IV, we originally added it to our editing while trying to get permission to use it. Although the composer of War, Vince DiCola kindly allowed us to do so in festivals free of any charge, Sony Music never answered our requests to keep it on our soundtrack. When I came back to Brazil having enough free time, I finally replaced it with music from emergent and talented musicians because we couldn’t wait any longer.

When we decided to shoot The Zone, I only had a limited budget, which we spent mostly on equipment and location rentals. However, Denisse’s help was priceless. She had talented friends in key positions, like the amazing stunt coordinator Sarah Brown, that were willing to help us with little or no money. Anthony Ray Parker, from The Matrix, was an unbelievable addition to our cast. What a classy man he is! Denisse even knew a psychologist who was an expert in sport hypnosis! For the last speaking roles we organized auditions and could count on the talent of Amy Kalp and Cecilia Rose. Anu Gunn, who I had the pleasure of working with previously as well, completed our cast. When we put all this team together, we realized that we had a promising project in our hands and that we could make it.

On a sad note, we lost one of our main actors, the young David Tirado, Denisse’s best male friend. It was a shock to all of us when we heard about his death. For some time, she wasn’t even able to watch the film because of it. But I believe David would be proud to see what we achieved today, being selected for the Artemis Women in Action Film Festival.

7. Short films have become a mainstay now in award shows and film festivals.  They are just as career building and relevant as feature length films. Which of the two mediums do you prefer? How are they different in regards to directing? 

Short films have definitely become career building. The Zone is a proof of that right now. Short films in my opinion are opportunities you have to experiment things, to practice. I have made five in Brazil and about the same in the U.S. They give you experience, know-how, it’s like a laboratory. But I do prefer feature length films. They are my goal, either as a writer, director or producer. Since I try to do everything in my life with passion and hard work, the most notorious difference I see is related to the length itself. The dedication and preparation involved are the same. But, of course, since feature films are way more expensive and most of the time you are dealing with someone else’s money, there is little chance for mistakes. The pressure is more intense. You must find a way to follow your schedule and meet the deadlines without compromising your artistic work, your vision of the story. Right now I’m looking for partners to produce my first script. The Stranger will be my debut as a director of a feature film. It’s a very contemporary piece that approaches issues like homophobia, misogyny, racism, and illegal immigration, among others. I’ve talked in person to some of my favorite A-list actors about it and there is a chance that they will join the project. I’d really appreciate to meet those with the money and interest in making it, ‘cause like Frances McDormand said during her Oscar speech, “We all have stories to tell and projects we need financed… Invite us into your office”. I also have two other scripts in development at the moment. One involves the obstacles women face as soccer players and the other is about female prisons in Brazil.

8. What was the highest moment of your career as a director?

Definitely now. I may not be in the place I really love at this moment, but maybe for having been there once, the right time has come. After all the things I went through to become a filmmaker and write, direct or produce my own films, it’s rewarding to have The Zone selected for the Artemis Women in Action Film Festival. Many of us who worked on the short film had already turned the page understandably and given up on it, but the time I’ve spent in my country hasn’t been so bad, after all. I was finally able to give the film a final touch and submit it to AFF. The Zone may be helping us get our foot in the door or not, but giving this interview to Agenda Magazine, with all the exposure it has, is definitely my highest moment so far. I’m beyond satisfied. Again, I don’t know what will come from this, but I have good feelings. It’s written, “do not despise the day of small beginnings” and I thank God for this.

I will continue fighting for my career. We need more women in key positions in this industry around the world so we can write, produce, and direct more movies and TV shows whose spotlight is mostly on women.

As I answer your questions, thousands of people in several cities of my country are mourning the assassination of a young woman, Marielle Franco. A Black Brazilian human rights activist and council member, part of the LGBT community and a resident of an impoverished are in Rio, who was shot to dead in a car for denouncing police brutality in a state that has been recently put under a military intervention.

As a filmmaker, I will be on a mission to use my art as a mean to raise awareness, among other issues, about the nonsense of such unacceptable and outrageous violence against women and other minorities with little or no social power who can’t speak up for themselves.

And yes, we demand equal opportunities and equal pay. I have incredible and adorable male friends that support us, women, no matter what, but for those who insist on disregarding us, I have really bad news. We no longer accept the status quo. We are here to stay. As our amazing female colleagues have been saying lately, Time’s Up.

Thank you very much for this opportunity.

Visit Artemis Women In Action Film Festival for Screening Information. The film festival runs through April 26-29, 2018! Get your tickets for “The Zone”