SHORT BIO OF THE DIRECTOR: Brenda Elizabeth Lopez has a degree in communication and journalism. She has different courses and degrees in cinematography in Mexico City. She has also worked in politics communication and this opportunity has giving her the chance to get to know the place where she lives turning real stories into films. She named this “My own colors”.
- Was there a particular event or time that you recognized that filmmaking is your way of telling stories?
Yes, when I assisted to many international film festivals as an spectator in my country. When stories from the other side of the world get to my country, it means a lot because I get to know a reality I didn’t recognize, and it’s quite interesting what you can get to discover or the feelings you can trigger on someone through a film.
- Do you think it is essential to go to a film institute in order to become a successful filmmaker?
Yes, because your view and your film work become finer, with more knowledge and greater security and information to be a better creator.
- Is it harder to get started or to keep going? What was the particular thing that you had to conquer to do either?
It’s more difficult to begin ‘cause many times you’re not going to trust yourself and you’ll doubt if your story and vision is Good. The decision to start my short film was in the wake of when I spoke to my producer, José Luis Rivera, he pushed me to do it and believe on this.
- What was the most important lesson you had to learn that has had a positive effect on your film? How did that lesson happen?
Time has taught me to be patient, in all the way of creating my short film I wanted everything to be immediate. I learned that everything comes at the right time, from the conception of the idea, the execution, the postproduction, distribution and display. To get great results you have to be patient. The lesson was learned when I got the economical support from the government to produce it. I waited for months and months, the pandemic got in the way and I had to wait more. And by winning on the middle of the pandemic the story had to be changed to fit the new standards. Besides, after the postproduction I got pregnant, and I thought I wouldn’t be able to go on. However, I’ve been selected o festivals and earned prizes. That’s how time gave me the answer for my impatience.
- How do you find or generate ideas for documentaries or is it a different process for every project?
I don’t have a particular rule to create ideas, I can simply get inspired by a story from my city, or a story that touched me, by watching other movies or also by my own past experiences, my present life or my travels.
- Can you describe your approach to writing treatments?
I like to focus on social content stories that talk about local problems or social issued that are present.
- Do you ever use the camera yourself?
Sometimes, to film small clips or interviews.
- What do audiences want? And is it the filmmaker’s role to worry about that?
It depends on which kind of filmmaker you are, if you’re a filmmaker that wants to be known by festivals, the topi cis free. But if you’re a filmmaker that wants to do commercial movies you have to focus on popular interests. And if you have both characteristics, you won the lottery!
- What role have film festivals played in your life so far? Why are they necessary? How do you get the most out of them?
My short film was made to be seen by most people, so they can know the reality that troubles many children in my country and the world since the pandemic. For me, festivals play an important role so the films can get to be known around the world and get to touch the international audiences.
- Do you believe that a filmmaker should be original and fresh, or he/she should stick to classic but safe cinema style?
A filmmaker can do and be whatever they want on their art, art is free, it’s an expression that doesn’t have rules. It’s subjective, nothing’s wrong or good. It just is.
