Kena from Film in Revolt had the pleasure of talking with Gossamer Folds director, Lisa Donato. Gossamer Folds is screening within the Queer Screen Film Festival.
Kena: Could you tell me a little bit about your filmmaking career to date?
Lisa: I actually started out in corporate advertising and was in corporate America for about 10 years! I always had a dream to be a film director, and one day I just quit my job cold turkey and moved to L.A. from Denver, Colorado and started making films. It’s been a crazy journey but I’ve been making short films for about 6 years, and all of my work is pretty much for and about the LGBT community. I built a body of work, and then got my first Director-for-hire gig at Hollywood through Yeardley Smith, which was this film Gossamer Folds; my first feature.
You have quite a bit of filmmaking experience and acclaim for your previous films, is there a secret to being a great director or making a great film? Is there something you can’t go without when making a fantastic film?
I feel like wherever I lack in talent I make up for in enthusiasm. I’m just a very passionate person, and a very ‘yes’ person. I lead teams and crews that have that same vibe. Just being a ‘yes’ person who believes that ‘Yes, we can make anything’ whilst we’re on set – as long as you have a vision – is what’s gotten me here!
What’s the hardest thing for you about being a Director?
When you envision something, but then realise it’s going to take six times the amount of money is disheartening. As a Director you become a mathematician, because you have to factor in light, time and resources. You’re constantly trying to figure out what’s the best possible shot or scene you can pull off with those limitations. I’d say working within whatever given limitations you have is always the hardest part about being a Director. So being resourceful and open to trying things can sometimes make things turn out better than you thought they would!
Do you have a favourite character in Gossamer Folds?
Oh, God. Surprisingly, I love all of them. We had such a great cast and I was so lucky with them. Obviously, Tate and Gossamer I love, but I think the most surprising character is Edward, Gossamer’s father. He does such a good job of portraying the conflict that a parent has; he’s such a good guy and he’s so compassionate and he loves his daughter, but he’s working through that acceptance and he doesn’t do it perfectly.
But that’s a legitimate, accurate representation of a parent of a gender-diverse child – an authenticity that we don’t often see.
Yes, he’s dynamic and complicated…
Yes! And we need more of that.
I think parents need that.
I completely agree!
Did you have a favourite scene to shoot on set?
Yes, the scene where Gossamer is in her bedroom and she breaks down with Jimbo. Alexandra Grey delivers that with so much authenticity that when we were done shooting that scene there wasn’t a dry eye in the room. Everybody just felt the character Gossamer’s struggle of feeling stuck in this small-town suburb, and also felt Alexandra’s struggle because she really resonates with the character of Gossamer. I love the way that scene turned out.
Is it very hard to shoot a scene like that, because obviously you have x amount of takes and shots and all the coverage, how do you organise those in relation to the intense performance the actor(s) have to give?
It’s very tricky. You have to plan ahead and know what the money shot will be. Especially when a scene is carrying that emotion, you don’t want to cut around a lot. You have one main shot, and you just want that to breathe. You want a good shot, and you want the actor to be able to do their thing. Once you’ve shot out the other angles, and saved that high emotion for that shot – you do two or three takes and that is it! Because I find you can’t really get the authenticity more than two or three times.
I know the present climate isn’t the easiest one to be making films in, but do you have any future projects in the pipeline you could give us a hint about? Where do you go from here?
I have been working on a TV show, and now I’m in Hollywood pitching that virtually through a 30-minute multimedia Zoom pitch. It’s going really well at the moment, so I’m working on selling that show. I’m also adapting a podcast into a docu-series, and just writing as much as possible! I write a lot, and I love it (though I like Directing more, I think). I want to write and direct my next feature.
Have you got any final tips for students or amateur filmmakers or those trying to get into the scene?
My biggest advice is just to keep making, and to not compare your journey with any other journey out there. I have seen people for whom it takes decades, for some it takes years, other’s months. If there was a formula for how to make it as a filmmaker, everybody would do it! Concentrate on building a body of work, cultivating your voice, crafting your voice, and finding your voice! The time you’re supposed to make it will happen – whatever that means to you. Ignore all the bullshit and keep making things you’re in love with.