Please tell us about the projects you worked on before making ‘JOURNEY - CUBA’. How did you start, and how did you learn to make films?
I worked as a costume designer on fashion videos many years ago when I was designing apparel. I learned about the technical and operational aspects of filmmaking as a member of a Black filmmakers coalition in Atlanta, Georgia by collaborating with those technicians on music videos and independent projects. Always drawn to how the images in front of the lens looked behind it, I’d often find myself on both sides. Journey-Cuba is the first official film that I’ve produced. Thanks to amazing wardrobe stylist, Chaunielle Brown, I was very fortunate to connect with my clever director with the golden eye, Sean Kim, who interpreted my vision flawlessly.
Tell us about ‘JOURNEY - CUBA’. How do you describe it?
Sequestered to our homes, the lives that we lived prior to the COVID-19 pandemic stood still while creative inhibitions exploded from our imaginations and across social media. Journey-Cuba is the first installment of a series of film shorts highlighting destinations that our traveler, De’ja Robinson, dreams of during the lockdown. As a milliner and designer, I felt very connected to this character and to all the people who wanted to break out of what seemed to be a fog and explore the boundless possibilities that that new reality had to offer.
Please tell us about your favorite filmmakers.
Ava DuVernay and Julie Dash are top of mind for me, Black female storyteller. As a young wardrobe assistant, I was introduced to Julie Dash and her incredible film, Daughters of the Dust, through a DP I was dating at the time. He worked on the film and it was indeed the most beautiful story I’d ever seen in a theater. Meaning, the cinematography (for which she won best at Sundance) was otherworldly. It taught me that visuals can become their own character in a film to affect the viewer and to enhance an unfolding plot. As for the highly awarded and much deserving Ava DuVernay, her latest film is perhaps my favorite to date. Thoughtful and thought provoking, it represents a cross section of cultures and communities. The cinematography makes the characters eerily tangible even as the film transverses time as we follow the main lead. The work is ironically en-titled, Origin.
If you were given a good budget, what would be your ideal project?
My ideal next project would be to take the ‘Journey’ franchise on the road with the overarching theme to highlight indigenous artisans around the world through creative collaborations that reflect the intersection between our cultures. I’m currently holding contracted handmade Mola panels from Panama in preparation to bring this concept to life.
Describe how you would ensure that production is on schedule. What steps would you take?
I would bring on experienced production partners so I can primarily focus on creative direction and talent. Wearing so many hats (no pun intended) causes things to fall through the cracks. Fortunately I had great support from my crew on Journey-Cuba. The right budget to fill necessary roles for the operational, administrative and technical aspects of the production are the most important first step.
What was the hardest part of making ‘JOURNEY - CUBA’.
The challenges were many and mainly around having a very small bootstrap budget; a non-existent crew, 72 hour location change, tight time constraints at the new location, shooting the film and stills in one day, oh, and did I mention COVID-19 concerns. I can truly say that getting past these obstacles was all faith, staying focused and being open to my angels who moved each one out of the way.
If possible, tell us about your next work. What plans do you have for your future work?
The Journey-Panama couture headwear collection is in development. Film to follow.
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