Olivia Andrus-Drennan

As a filmmaker, how would you describe your cinematographic tastes and visual style? Are there any specific directors or films that have influenced your approach to cinematography?

I am a pretty traditional science-based documentary filmmaker. I love interviewing people about their work, I want to follow their lives and show their work. I try all angles, sometimes having the shot in my brain and sometimes adapting to the environment or following the action. I think the films that have influenced me the most are the BBC’s Planet Earth and Blue Planet. I absolutely loved Agnès Varda’s documentaries and the way she told stories and I’m always influenced by the new upcoming cinematographers like the wonderful Erin Ranney, a wildlife cinematographer who just filmed Queens. Finally, I pull inspiration from those pushing the boundaries between non-fiction and narrative filmmaking like Matthew Heineman and Matt Porwoll who were the cinematographers of Cartel Land.

 

Could you share some highlights from your previous festival experiences? Which festivals have you participated in, and how have those experiences shaped your career?

The festivals that stick out the most to me are the Big Sky Documentary Film Festival and the Wildlife Conservation Film Festival. Both festivals had a lot of networking opportunities, talks to join participate with other filmmakers, and question and answer sessions after they showed the films. They allowed me to connect with other people from around the world in documentary filmmaking, connect with them for future collaborations or questions, and learn from their experiences.

 

Film festivals often provide opportunities for networking and collaboration. Have you formed any valuable connections with fellow filmmakers, producers, or industry professionals during these events?

Yes, I have been able to keep in touch with filmmakers around the world as well as get onto film job networking groups that have gotten me other positions.

 

What techniques do you employ to craft compelling narratives that resonate with audiences?

I always try to show the humanity behind those that I film. If I care about the character of the, whether that is a space or a person, then I can go on the film’s journey without tuning out it’s message and even complete the call to action at the end. So my goal in all of my films is to get the audience to connect with the character. If it is a person, I usually try to get at the essence of why they are who they are by asking personal questions, getting them to laugh, or showing them relaxed enough to have a conversation with the audience. If it is animals that I am filming, I try to show all angles, but if they are the character in order for the audience to connect is through the eyes. So having close-up shots is very important for the story telling.

 

Film festivals can be competitive. How do you stay true to your artistic vision while also considering the preferences of festival selection committees and audiences?

I don’t really worry about the film festivals when I create my movies. If it is a story that interests me and I just have to tell, then there will be festivals that want to show it. I typically aim for festivals that I think the content of the story will play well in, but other than that, I just let my work speak for itself.

 

Sound design and music play crucial roles in enhancing the cinematic experience. How do you approach incorporating soundscapes and music into your films to evoke emotions and enhance storytelling?

Sound is the most important element in all filmmaking because we as people can only stand about 15 seconds of bad sound before we reject the piece. Our ears are very sensitive, so in science-based documentary adding extra layers to fill out the soundscape is what I aim for. If we see something, even if it is low in the background we should have some of that “natural” sound. I typically work in the sound that was caught on camera in the momento, but then I use the best sound bites to add to different shots. Like in this film, there is a lot of boat noise of waves, that I added in scenes to make the audience feel like it is there. The other part is adding a sound track that highlights what is going on. With this film, I had a sound artist create the track after the film was completed. We worked together to make the moments in the film move and when music was not necessary at all. In general, I tend to highlight want is being said over all the other soundscapes.

 

Could you tell us more about the inspiration behind this project and what you hope viewers will take away from it?

I was working as an intern with The Marine Mammal Center when they published this new study and I just became hooked. This was the first time that climate change was proven to cause a disease and I had to tell it to whoever listened. I hope the viewers take away the urgency that this film pushes but also that there is hope. If you get involved with your local conservation groups, that is truly where change happens. We can’t solve a problem this big by attacking the bigger issue, but if we all band together and work on the local environmental problems in our neighborhood, that is what protects us from the bigger issues and in the end will stop climate change.

 

Film festivals often showcase films from diverse cultures and backgrounds. How important is it for you to represent cultural authenticity and inclusivity in your work?

I think it is extremely important for representation from all cultures and to include all voices. Solutions for the world’s biggest issues can come from anyone and having all voices included allows us to see those issues from different perspectives. I typically work in science-based documentaries and I want to give voices to scientists that aren’t usually highlighted. Women, people of color, LGBTQ+, and indigenous voices bring fresh perspectives to the table.

 

The film festival circuit can be a rollercoaster of emotions. How do you handle both the highs and the lows that come with presenting your film to different audiences?

I think I take it one day at a time. When you make art, it is going to be criticized. It is up to the artist to decide what to listen to and what to stick with. Since my film has a political hot button, it will probably bring more emotions from the audience. Even when that happens, I try to listen to everyone respectfully and respond with grace.

 

The editing process is a critical aspect of filmmaking. How do you approach editing your films to create a cohesive and engaging final product?

I try not to get attached to seeing my film in the order I originally put it in. We have a phrase in this business, kill your darlings, which means the thing that you love most about your film sometimes is the thing you have to get rid of to make it work. I typically break down the audio edits of the interviews to the pieces that I want tos ay before ever putting the B-roll over top of the footage. That way I’m not distracted by the pretty pictures and I am focusing on the story that I am trying to tell. Then I put those words into a sequence and put the images over top. When I have it at a place I think can be critiqued, I send it to people I trust to look at and give me feedback. If it is a client, that if when they get to see the film for the first time. At that point, it becomes little fixes and cuts until it’s done.

 

Collaborating with actors is an essential part of bringing your characters to life. What methods do you use to establish strong relationships with your cast and get the performances you envision?

In science-based documentaries, you are typically working with scientists. In this case, I read the paper that they produced backwards and forwards. I wrote down thoughtful questions about things I didn’t understand and researched them before we even talked. Then I usually call them before I go and film them to talk about the film, get a sense of how they answer questions, and their tone to see if they are the right fit. Once in the room with them, my main goal is to make them comfortable in front of the camera so I usually try to get them to laugh. If I can do that, they connect with me on a more personal level and the interview becomes more natural. I also do my best to be as authentic as posible, so if they are talking about a really difficult subject my facial expressions become more understanding or intently listening to what they have to say. The more comfortable I can make them, always allows them to give the best interview.

 

Do you have a favorite genre to work with, and how do you adapt your filmmaking approach to suit each genre's unique demands?

I work in science-based documentary, which usually means I’m following a story that is happening in real life. It makes it easier, because I have an already written script, if it is historically based then I have each of the important moments in history already laido ut. If it is based on someone’s work, I have that person or people to talk about it. So, the adaptions to the genre is more based on the type of story I want to tell about that subject. Is it more poetic, where there isn’t a clear narrative structure and it’s goal is emotional only or is it more stereotypical interview style of documentary with a three act structure.

 

With the rise of online streaming platforms, film distribution has evolved significantly. How do you navigate the changing landscape of film distribution to reach wider audiences?

The issue with the change is more the abundance of options for online streaming platforms. If a platform wants my film, then researching their types of audience becomes my priority. There is a problem with doing film festivals if your film is widely viewed and online platforms exasterbate the issue. That is why, I typically don’t release my film to the online platforms until the festival run is complete.

 

Film festivals often feature panel discussions and workshops. Have you ever participated in these events, and if so, what topics do you enjoy discussing with fellow filmmakers and enthusiasts?

I have participated in panels and typically we talked about our films. They grouped us with similar topics together so that we could talk about climate change for example more in depth with the filmmakers. I really enjoyed talking about the approaches to filmmaking with my fellow filmmakers.

 

As a filmmaker, what are your long-term goals for your career, and what kind of impact do you hope to make in the film industry?

My long term goal is to provide films that show science in a way that is accessible to al lof the public and in a fun light! If I can do that, with any of my films, I’ll see myself as successful.