It all started with a phone call. My friend and DoP rang me up and casually asked, “Hey, what are you up to?” Sometimes, that’s how opportunities come—unexpected, unpolished, and full of possibility. My immediate answer was no. But that question planted a seed.
I started digging through scripts I had written over time, searching for something that could work. Eventually, I found one. And just like that, preproduction began.
Preproduction: Two Weeks, One Film
The first challenge? The script was in Spanish. Since we were shooting in France, we had to decide: film in Spanish or translate it into French? We opted for French, knowing it would be easier to find local actors fluent in the language. Translating was no small task—we had to preserve the subtle dialogue and subtext that gave the story its depth.
Then came the logistics. Flights, accommodations, equipment rentals, locations, crew—we had just two weeks to put it all together, juggling tight schedules and limited resources.
Casting was a turning point. Given the film’s dialogue-heavy nature, we needed actors who could carry the weight of the story through their performances and chemistry. We put out a casting call, expecting a handful of responses. Overnight, we received 300 applications. That’s when it all started to feel real.
Building the Team & Securing Funding
Piece by piece, the crew came together—friends, past collaborators, new connections. Financing, often the biggest hurdle, came through surprisingly fast. In less than five days, we secured enough funds to rent a location, camera, and lighting, as well as pay the crew and actors. Never underestimate a solid pitch paired with a good looking dossier.
With our first department head meeting, things started moving at full speed. Within a week, we were halfway through preproduction.
Three Intense Days of Filming
Our final crew consisted of just 11 people, but those three days of shooting were a testament to efficiency and collaboration.
The actors, Naima Maurel and Jean-Baptiste Bazin, brought the script to life, creating an on-camera chemistry that elevated the entire project.
Then came another challenge: language. Our DoP, J. Daniel Zúñiga, didn’t speak French. While we communicated in English off-camera, the actors performed in French. This meant Zúñiga had to rely on instinct and creativity to shape the cinematography. The result? A fluid, dynamic camera that moved freely through the space, adding an organic energy to the film.
The Final Takeaway
In the end, we shot a 15-page script in just three days, maintaining a professional environment without compromising quality.
And to think—it all started with a simple, “What are you up to?”
Opportunities are everywhere. You just have to be ready to say yes.
Luis Longo
