Can you tell us about your latest film project and the process you went through in bringing it to life?

On the 22nd of February 2022, when Putin invaded Ukraine, a wave of chaos and despair swept across the nation. Through a close friend living in New York, I received an electronic version of a war diary written by Oleksandra Basko, a young, talented Ukrainian writer from Vinnytsia.

 

As I delved into the diary, I was struck by the vivid and raw depiction of wartime life. It was then that I realized I was reading the seeds of a future theatrical play. The diary's powerful narrative and emotional depth called out to be transformed into a stage production.

 

I auditioned one of the best local professional actresses in New Orleans Erin Cessna. Together, we meticulously read through the diary, cutting down some entries and extracting dialogue. It became clear that we needed a "husband" character. I reached out to another of our best local professional actors named Casey Groves, I had previously worked with, and he enthusiastically agreed to join us as our leading actor and "husband."

 

We began the intricate process of evolving the diary into a theatrical script. Our research delved deep into Ukrainian culture, focusing on unique aspects of daily life. We sought authentic Ukrainian contemporary attire and a scenic designer to recreate the essence of a Ukrainian home on stage.

 

One of the most crucial elements for me as the Director was the music. We were fortunate to receive a video recording of the Odesa Philharmonic Orchestra, conducted by Hobart Earle. The composition, Weinberg’s Symphony № 21 "Kaddish," provided a profound and haunting core vision for my play, guiding the performance from start to finish.

 

With a complete stage, a dedicated scenic designer, and a light designer, our team leveraged our previous experience with virtual live online performances to finalize the production. We brought in a film company to record our dress rehearsal from start to finish, capturing every moment of our evolving project.

 

This endeavor marked a new chapter in our 25-year history. We were venturing into the realm of "theater on film," creating a genre-blending movie project that combined the intimacy of live theater with the expansive reach of cinema.

 

Tulane Professor of Theater Antony Sandoval joined the project as both Cinematographer and post-production film editor, bringing his expertise and vision to this unique fusion of theater and film.

 

What inspired you to become a filmmaker and pursue a career in the film industry?

The uniqueness of this particular Ukrainian project inspired my decision to move beyond our previous 25-year history of live theater. We were venturing into the realm of "theater on film," creating a genre-blending movie project that combined the intimacy of live theater with the expansive reach of cinema.

 

The reasoning behind this decision was simple enough: I wanted the world to see this Ukrainian writer’s story and the only way to do so was through filmmaking.

 

What challenges did you encounter during the filmmaking process and how did you overcome them?

Creating "A Non-Fictional War," based on Oleksandra Basko's poignant war diary, posed several significant challenges, each demanding unique solutions to ensure the project's success.

 

Adapting the raw, personal entries of Oleksandra's diary into a coherent theatrical script was a delicate task. The narrative had to be both compelling and true to the original material. We spent countless hours reading through the diary, selecting key entries, and crafting dialogue that would resonate with audiences. 

 

Collaborative workshops with our lead actress and actor were crucial in refining the script, ensuring it captured the emotional depth and intensity of the original diary.

 

Music was a vital element in conveying the emotional landscape of the play. We were fortunate to receive a video recording of the Odesa Philharmonic Orchestra's performance of Weinberg’s Symphony № 21 "Kaddish." The challenge was to seamlessly integrate this powerful composition into the play. We designed the performance to align with the symphony's structure, allowing the music to guide the narrative flow and enhance the emotional impact of each scene.

 

While we had experience with live performances, transitioning to a "theater on film" format introduced new challenges. Capturing the immediacy and intimacy of theater on camera required innovative filming techniques. We enlisted Tulane Professor of Theater Antony Sandoval as our Cinematographer and post-production film editor. His expertise was instrumental in bridging the gap between live theater and film, ensuring that the final product retained the essence of both mediums.

 

Coordinating the various elements of the production—actors, scenic design, lighting, and filming—was a complex logistical challenge. During our dress rehearsal, we faced the daunting task of recording the entire production. To overcome this, we worked closely with a professional film company, ensuring that every aspect of the performance was captured in high quality. Detailed planning and clear communication were key to synchronizing the efforts of our multidisciplinary team.

 

In summary, the process of creating "A Non-Fictional War" was fraught with challenges, from cultural authenticity and script adaptation to technical integration and logistical coordination. However, through dedicated research, collaborative efforts, and the expertise of our team, we successfully transformed Oleksandra Basko's war diary into a powerful and evocative theatrical film.

 

What was the most memorable moment for you during the production of your film?

The most sacred moment for me during the creation of our film-theater play was the rehearsal with my actors. It was a mysterious and profound experience as we searched for the hidden motives that reside deep within the human soul. As the actors delved into their roles, they opened their hearts to one another, revealing the secret mechanisms of their unique selves. This process of becoming one was a complete surprise to both of them. The depth of their connection and the vulnerability they shared were not only essential for their performances but also for the authenticity of the narrative we were bringing to life. When the scenes finally came together, it brought immense pleasure and fulfillment to all of us, marking it as a truly unforgettable moment in the production journey.

 

Can you share any interesting anecdotes or behind-the-scenes stories from the making of your film?

One of the most amusing and memorable behind-the-scenes stories from the making of our film-theater play, "A Non-Fictional War," occurred during rehearsals. As the director, I often found myself deeply immersed in the various characters and voices we were bringing to life, including the voices of the children.

 

During one particular rehearsal, I was so caught up in the life of a 2-year-old child that I fully embraced my "inner child." My actors, in the midst of their own intense preparations, began asking me questions, seeking direction and clarity. However, instead of receiving thoughtful responses from Director Natasha, they were met with the bewildered and innocent reactions of "2-year-old Natasha," who didn't understand anything being asked.

 

This unexpected turn led to a moment of hilarity. Realizing how deeply my inner child had emerged, we all enjoyed a belly-deep laugh. It was a lighthearted and joyous break in our otherwise intense and emotional rehearsal process, reminding us all of the importance of staying connected to our playful and creative sides.

 

This anecdote not only provided a much-needed moment of levity but also highlighted the deep level of immersion and dedication we all brought to the project. It reinforced the bonds between us as a team and added a memorable chapter to our journey of creating this poignant and powerful play.

 

How do you approach storytelling in your films? What themes or messages do you try to convey?

Every day became a realization that war had come to Ukraine, and war forces both individual Ukrainians and Ukraine as a country to change. For a deeply spiritual nation, every moment drives their spirituality into uncharted territories, transforming their reality in ways they never anticipated.

 

In my vision of the film, I had to convey two major themes. The first focused on the profound violation experienced by individual Ukrainians and by Ukraine as a nation. The war compelled each Ukrainian to confront unimaginable choices: whether to flee to save their lives or stay and do whatever they could to contribute.

Eighty years after the end of World War II, Ukraine found itself once again at the epicenter of death and conflict. Generations born after 1945, who had never faced such realities, were now forced to make decisions that forever altered their deep-felt spirituality. This return to a war-torn existence thrust upon them a stark and brutal reality that reshaped their lives and their spiritual identities.

 

Conveying this in my storytelling proved to be the most challenging of all. My approach centered on capturing the raw and unfiltered emotions of those affected, showcasing their resilience and the depth of their spiritual transformation. Through careful attention to detail, immersive character development, and a focus on the human experience amidst the chaos of war, I aimed to bring their stories to life in a way that was both authentic and profoundly moving.

 

By intertwining these personal narratives with the broader national struggle, I sought to highlight the indomitable spirit of the Ukrainian people and their unwavering faith in the face of adversity. This approach allowed me to tell a story that was not only about war but also about the enduring power of the human spirit and the profound impact of spirituality in shaping our responses to life's greatest challenges.

 

The theme and message I was surprised to discover and tried to convey in this film is how deeply spiritual all Ukrainians are.

 

One of the most remarkable aspects of Ukrainian spirituality is their ability to embrace all religions and blend these faiths together to create their unique individual soul-life. This harmonious integration of various religious beliefs results in a rich and diverse spiritual landscape, where each person’s spirituality is a tapestry of different traditions and practices. This unique spiritual resilience and inclusivity were themes we wanted to highlight and celebrate in our film.

 

By conveying these themes, we aimed to showcase the profound and multifaceted spirituality of the Ukrainian people, illustrating how it shapes their identity and fortifies their resilience in the face of adversity. This deep spiritual connection not only sustains them through challenging times but also enriches their cultural and personal lives in extraordinary ways.

 

What is your preferred genre of filmmaking and why? Are there any specific directors or filmmakers who have influenced your work?

As this is our very first film, we selected a nearly forgotten and unused genre since ABC Theater performed their last work in 1976.  We wanted to captured the spirit of live theater on film while blending in the reality of terror as a result of invasion and war.

 

When we made the decision to expand our work to incorporate filmmaking, we chose this project because we wanted the world to know the spirit of Ukraine and Ukrainians as well as the horrors they have to deal with every day …

 

How do you select your cast and crew for your film projects? What qualities do you look for in collaborators?

Overall, my selection process is guided by a deep understanding of each actor’s strengths and how they align with the demands of the roles. This approach ensures that each member of the cast and crew brings not only their technical skills but also a deep emotional and spiritual connection to the project.

 

As a graduate of Russian Institute of the Theater Arts (GITIS) having studied under the best of Russia’s Tsarist and early Soviet era Cultural Masters of Russian Theatre and after 53+ years in international theater directing and acting experience, I know what I am looking for, how to evolve their skills to gain the results I need, and I know that my actors love working with me.

 

Having lived in New Orleans for 40 years and directed a multitude of live theater performances, I have developed a deep familiarity with the local talent. This extensive experience allows me to know the best professional actors and crew members in the area.

 

When it comes to casting, I carefully consider the unique qualities and experiences of the actors. For the two principal roles in our latest project, I drew from this wealth of talent. Casey Groves, who played the leading role in our 2019 production of “24 Hours in the Life of Pontius Pilate,” was an obvious choice. His previous performance demonstrated his ability to embody complex characters with depth and nuance.

 

For the role of Oleksandra “Sasha” Basko, I held auditions with several professional actresses. Among them, Erin Cessna stood out. Her audition revealed a profound spiritual connection to the real Oleksandra Basko, making her the ideal choice to portray this deeply personal and challenging role.

 

Additionally, for the "Voices" roles, I invited several local professional actresses who had performed in my previous plays. From these talented individuals, I selected those who could authentically convey the innocence and purity of children’s voices.

 

How important do you think film festivals are for independent filmmakers, and what has been your experience with film festivals so far?

Film festivals are incredibly important for independent filmmakers. They provide a platform to showcase our work to a broader audience, offer networking opportunities with industry professionals, and open doors for potential distribution deals. For independent filmmakers, who often lack the extensive marketing resources of major studios, film festivals are vital for gaining visibility and recognition.

 

This is our first time in our 25-year history that we are participating in film festivals. Every aspect of each film festival is a new experience for me, as well as for my cast and professional technical crew members. We are all swept up in the "newness" of participating in these events and hope that we convey all that we have learned and embraced through our film to the world.

 

My experience with film festivals has been profoundly positive. Participating in festivals has allowed me to connect with fellow filmmakers, share insights, and learn from their experiences. The feedback and encouragement received from audiences and juries have been invaluable in refining my craft and pushing creative boundaries.

 

One of the most significant experiences was with the Lift-Off Sessions film festival. Unlike the main city-based Lift-Off Film Festivals like London, New York, and LA Lift-Off, the Sessions festival offers a unique platform focused on collaboration, self-education, and feedback among filmmakers. It has been an excellent opportunity to screen our work, engage with a global community of filmmakers, and receive constructive feedback that has been crucial in improving our projects.

 

Film festivals also provide a sense of validation and accomplishment. Being selected or winning an award at a festival can significantly boost a filmmaker's confidence and credibility. It is a testament to the hard work and dedication that goes into making a film and serves as a motivating force for future projects.

 

Overall, film festivals play a crucial role in the growth and development of independent filmmakers. They offer a supportive environment that fosters creativity, innovation, and collaboration, all of which are essential for the continued evolution of the independent film industry. My experiences with film festivals have enriched my journey as a filmmaker and have been instrumental in shaping my career.

 

Can you tell us about any awards or recognition your films have received and how they have impacted your career?

Our very first film festival entry was for “Best Trailer” for the same film production, generated in late 2023. We entered our trailer in 11 national and international film festivals and achieved remarkable success: we won three “Best Trailer” awards, received “Finalist” awards in nine other festivals, and were not selected in only two. This gave us an impressive 79% success rate for our very first endeavor.

 

Buoyed by this initial success, we have already entered into 25 local, national, and international film festivals. So far, we have been informed that we were not selected for two and achieved a “Semi-Finalist” position in a third international film festival.

 

This recognition has had a profound impact on our career. Winning awards and receiving finalist positions has validated our hard work and dedication, boosting our confidence and credibility within the industry. It has also opened doors for further opportunities, allowing us to network with other filmmakers, industry professionals, and potential collaborators.

 

The accolades have provided significant motivation for our team, encouraging us to continue pushing the boundaries of our creativity and storytelling. We believe that these early successes are just the beginning, and we anticipate gaining additional victories and finalist selections during the second half of 2024 and into early 2025.

Overall, the recognition we have received from film festivals has been a powerful catalyst for our growth and development as filmmakers. It has reinforced our belief in the value of our work and has inspired us to strive for even greater heights in our future projects.

 

How do you handle feedback and criticism of your films? How do you use it to improve your craft?

We always document and learn from any errors made on every production we’ve created over the past 25 years. By meticulously recording these experiences, we build a comprehensive repository of "lessons learned" that we can refer to and implement in future projects. This practice ensures that each new production benefits from the insights and improvements gained from past experiences.

 

At the beginning of every new production, we review our documentation and incorporate all relevant feedback and lessons. This proactive approach helps us avoid repeating past mistakes and addresses previous criticisms effectively. By embedding these learnings into our pre-production planning, script development, and overall project strategy, we continuously refine our craft and elevate the quality of our work.

 

Additionally, we conduct thorough debriefing sessions after each project, where our team collectively analyzes the feedback received. These discussions help us identify patterns and recurring issues, enabling us to implement systemic changes that improve our processes and outcomes.

 

In summary, our commitment to documenting errors, learning from them, and applying these lessons in future projects has been instrumental in our growth and success. By continuously evolving our approach based on feedback and criticism, we strive to create films that are not only technically proficient but also deeply resonant with our audiences.

 

What do you enjoy most about the process of filmmaking? Is there anything you find particularly challenging?

What I Enjoy Most

One of the most rewarding aspects of the filmmaking process was working closely with Ukrainian writer Oleksandra "Sasha" Basko. From the initial script development to the rehearsals via Zoom, the collaboration allowed us to deeply engage with her experiences, thoughts, and feelings. This close partnership enriched the production, making the storytelling more authentic and impactful.

 

Despite the challenges of working across multiple time zones between Vinnytsia and New Orleans, we were able to perfect the portrayal of the experiences, emotions, and spirituality Oleksandra documented in her original war diary. This meticulous process of capturing her narrative and bringing it to life on screen was both fulfilling and inspiring.

 

What I Find Challenging

One of the most significant challenges we faced was ensuring that we accurately represented Oleksandra and her husband Slava in our film. It was crucial for us to portray their personages as authentically as possible to ensure that their stories and spirits were conveyed effectively to the audience.

 

Another challenge was the logistical complexity of coordinating across different time zones and maintaining a consistent workflow. Ensuring clear communication and alignment with Oleksandra throughout the process required careful planning and adaptability.

 

Overall, the joy of collaborating with Oleksandra and the creative process of bringing her powerful story to the screen were immensely rewarding. However, the challenges of accurate representation and logistical coordination added layers of complexity that required diligent effort and dedication.

 

How do you approach the distribution of your films? What strategies do you employ to reach a wider audience?

This will be our first time efforting the distribution of our first film.  We don’t even have an agent to work with us as of this time.

 

What advice do you have for aspiring filmmakers who are just starting their journey in the film industry?

As "Oleksandra Basko's A Non-Fictional War" marks our first filmmaking odyssey, we find ourselves in a unique position to share insights from a fresh perspective. While we are on this exciting journey of discovery and learning, we are eager to gain wisdom from seasoned professionals. Our core response is that this is our inaugural filmmaking adventure, and we are more inclined to seek advice than to offer it.

 

Finally, can you share with us your future plans and upcoming projects as a filmmaker?

We are excited to share our upcoming project, "Anna Akhmatova: Sketches From A Poet's Life (1902 - 1922)." This documentary-drama film will delve into the early life of the eminent Russian poet Anna Akhmatova. It is a part of our "theater on film" genre, blending documentary elements with dramatic reenactments to create a compelling and immersive narrative.

 

Through this project, we aim to explore Akhmatova's formative years, highlighting her personal struggles, creative milestones, and the socio-political influences that shaped her poetry. By combining historical accuracy with artistic interpretation, we hope to bring her story to life in a way that resonates with contemporary audiences.

 

In addition to this film, we are committed to continuing our journey as filmmakers, seeking out stories that inspire and challenge us. Our future plans include participating in film festivals, expanding our distribution channels, and engaging with diverse communities to share and learn from each other’s experiences.

 

We look forward to the journey ahead and are excited to see where our filmmaking path will take us next.