Please tell us a bit about yourself first. How did you learn filmmaking and how many films have you made before "As Long As You Are Here"?
My name is Cloe, I was born in Lima, Perú and raised in the North Pacific Coast of Costa Rica surrounded by nature and a surf/skate culture that continues to inspire me. "As Long As You Are Here" was my first serious short film. Two years before that I had shot another short film as a university project but it never got to be a final product - as I was just learning. However that project - and the many years of learning by participating in different roles in short films helped me to be better prepared for this project.
As you are also the screenwriter of this film, please tell us how you came up with the main idea and how long it took to develop it?.
This project was part of a challenge: we had to record and edit a short film under seven minutes in 48 hours, with one month of pre-production. I dedicated a little over two weeks to writing the script so that the other departments, like Art and Photography, would have time to prepare based on the script. This also gave me some time as a director to rehearse with the actresses.
Although the script stemmed from a logline I had written down in my notes long before, the story itself is inspired by my friendships with two wonderful women. My best friend since childhood, with whom I've shared my whole life, and my closest friend from university, who understands me on a deeper level than I ever expected to experience in adulthood. These friendships, with their experiences, love, and long conversations, brought this script to life. I wanted to showcase the love of female friendship and the fear of being alone or left behind with everything that was before.
Tell us about working with your two young actors. How did you find them and how long did it take to reach a final agreement on their characters? Do you believe in the progression and transformation of characters through collaboration with actors, or do you think the character as written in the screenplay should be executed exactly as is?
The cinematographer made the observation and comment of how wonderful it was to watch me become a child again with those two girls. I knew what it felt like as a young girl to be surrounded by older people and be put on the spot, so I wanted them to be comfortable and have fun. I arranged a set of games and props for them to engage with, helping them forget about the acting part. We just played. I remember my mom making things fun for us in a town where there weren’t many kids or activities. She brought excitement to whatever we did, and it was contagious. I wanted to do the same for the girls. Not that they needed much encouragement—they dove right in.
The two young actors were students at a school where a crew member's cousin worked, which helped reassure their parents. Given our time crunch and the difficulty in finding child actresses who matched the physical description of the two older actresses, we decided to work with these students, even though they had never acted before. I had no problem with this—I enjoy working with non-actors. I genuinely believe that anyone who is willing can act with the right guidance.
Though I often struggle with letting go of dialogue and allowing actors to improvise, with these two young girls, anything and everything was welcome. I just needed them to be present. We couldn't have done it without them, so simply getting them to the set was enough. After that, they could do whatever they wanted, and they did, and that would work for our film.
Please tell us about your favorite filmmakers and the films that influenced you.
About a year ago, I watched "Frances Ha," written by Greta Gerwig and Noah Baumbach, for the first time, and it deeply resonated with me. The story featured a woman navigating a period in her life similar to mine. The character's clumsiness and messiness made her incredibly relatable, and the raw cinematography, presented in black and white with a documentary-style approach, immersed me completely and made me feel like I was really there.
In 2019, "Parasite," directed by Bong Joon-ho, opened up a whole new genre for me. It blew my mind and expanded my cinematic horizons. Following that, I watched "Nope" and "Get Out," both directed by Jordan Peele. These films transformed my appreciation for a genre that had previously scared me to watch and had never even considered making. This allowed me to keep reflecting on genres that I had not considered before and also dive deep into my current style as well.
What were the main concepts and themes you wanted to explore in this film?
I wanted to explore girlhood. Doing this project at 24, knowing I would soon turn 25, it felt like the perfect time to say goodbye to that phase of my life and a safe space to explore my voice as a director and writer. Girlhood is something I fully experienced and own; I have the right to talk about it. In a world where “cancel culture” can be so pervasive and unforgiving, girlhood provided a comfort zone and a safe space for me and my crew.
It was also something real and relatable. In the end, the project captured much more than just girlhood—it delved into themes anyone can connect with: friendship, childhood, aging, loneliness, and even fear of death. It provided a platform for genuine expression and universal experiences.
If you were given a good budget, what would be your ideal project?
I want to create a world that showcases a diverse representation of the immigrant community, where we can see and hear the different voices and accents of Latin America, as well as other parts of the world. I grew up in a place where people from across the globe had immigrated to for various reasons. At the time, it felt normal to me as a child, but looking back, I realize how unique and rich that community was. We had people from Brazil, Argentina, Peru, Venezuela, France, Italy, Switzerland—all in one place. I want to bring that to life on screen: the cultures, the voices, and the effects of migration on human beings, families and a community.
I also want to highlight the beauty of my country—its coast, beaches, jungles, and more. I aim to give Latin American culture and life proper representation and appreciation in film, showcasing its vibrancy and diversity in a way that resonates with audiences around the world.
Describe how you would ensure that production is on schedule. What steps would you take?
As with "As Long As You Are Here," we found that having a production calendar with realistic yet firm dates and deadlines, along with a committed crew, was crucial to keeping the project on schedule. A team that understands the seriousness of the schedule and is willing to work collaboratively can make a significant difference. Additionally, clear communication between the director, producer, and crew is essential to align expectations and tasks, ensuring everyone is on the same page and the production runs smoothly.
What was the hardest part of making ‘As Long As You Are Here’?.
During the first two weeks of pre-production, we didn't have a producer. As a result, the cinematographer and I, the only crew members at the time, took on the producer role ourselves. Balancing this responsibility with our other major roles was a heavy burden, especially since it was our first time handling such tasks. Despite the (very stressful) toll it took on us, I'm grateful for the experience. It prepared us, gave us confidence, and clarified what we need in future projects.
If possible, tell us about your next work. What plans do you have for your future work?
When we presented "As Long As You Are Here," we won an award that included a package of equipment from a local rental company that we could use for our next project. We need to use this prize before October and are currently working on a schedule and figuring out the story for this next project.
After "As Long As You Are Here," I created a biographical documentary called "Gloria" with support from a group called “The Wonderment.” The film is about an indigenous woman in Perú whom I met 10 years ago. Now every few months this group and I create video biographies about social entrepreneurs that need visibility for their change making projects to raise awareness and encourage support for their goals.
"Gloria" ended up being my thesis for graduating from university. Before deciding on this project, I had developed two other thesis possibilities. One of them was a short film about a girl who spends around 24 hours at the beach, encountering people from various parts of the world. Through them and their varying experiences and cultural backgrounds a new world unlocks in her. I hope to carry out this project in the next year.
DP Statement
The cinematography of 'As Long as You're Here' drew its inspiration from the director's genuine and profound relationships with her closest friends. Upon reading the script, I was eager to portray the poignant story of friendship and life it conveyed.
The heartwarming essence of this story resonated with me deeply, drawing from a sense of equilibrium between life's contrasts—good and bad, life and death. I aimed to visually capture this balance with a cozy, comforting aesthetic, evoking feelings of safety and serenity reminiscent of home.
In crafting the visual language of the film, I drew inspiration from anime culture, particularly its penchant for capturing beauty in subtle moments. This influence served as a blueprint for maintaining a consistent and engaging visual rhythm throughout the story.
Japan's love of precise physical composition was a point of interest that I always include in my projects; how body language and position can communicate in the frame. Our shared interest in Japanese culture guided our approach, emphasizing precise composition and the power of body language. Japan's anime has also been of great inspiration in portraying a “slow life” by creating beautiful imagery through composition.
I have always been fascinated by Japan's emphasis on precise physical composition, which I often incorporate into my projects. I explore how body language and positioning within the frame can convey meaning. Our [Director & DP] shared interest in Japanese culture shaped our approach, also drawing inspiration from Japan's anime, particularly in portraying a "slow life" through beautiful, carefully composed imagery.
Choosing Fujifilm as our equipment provider was a natural choice due to its ability to accurately reproduce skin tones and capture true-to-life colors. Its ergonomic design and superior color science allowed me to focus on crafting compelling visuals while ensuring exceptional image quality. This decision was particularly fitting for the project's tight schedule and run-and-gun shooting style, pairing a compact camera body with high-performance capabilities.
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