Logline: A newly dead High School teacher learns to say goodbye to his loved ones with the help of a special teenage girl.
Length: 20 min
Director: Jenna Gelenberg
Producers: Jenna Gelenberg, Lily Van Leeuwen, Ayden Skye
About the director and producer: Originally from Philadelphia and a recent NYU Tisch Alum, Jenna Gelenberg currently works in TV production in Los Angeles with a focus on writing, producing and talent management.
Lily Van Leeuwen, an NYU Tisch Alum, currently lives in NYC and works in production with a focus on directing, producing and sound design.
Ayden Skye, a New York Native and NYU Alum, currently lives in NYC and works in entertainment, with a focus on producing, acting and music.
Looking for: Distributors, Sales Agents
Funders: Indiegogo + Executive Producers
Release date: Currently in festival circuit
Stills: Allison Zaucha Photography
Congratulations! Why did you make your film?
Hey, thanks! From a directorial perspective, Snip is something I have wanted to make for a long time. Storytelling is my life. Thanks to my resources at NYU Tisch, I was able to make my thesis film a professional piece of work that I am incredibly proud of. The concept in particular is one that I truly believe in – one that I hope will alter the way we view our simple day-to-day interactions, for the better. This film represents who I am as an artist and the kind of work I want to create moving forward.
Imagine I’m a member of the audience. Why should I watch this film?
Snip is a light-hearted drama about love, loss and letting go – themes we can all relate to. Underneath the adventure, the banter, and the heartbreak of this story is a timeless message to appreciate the people around you, which we could all do a little more of, now more than ever.
How do personal and universal themes work in your film?
Most films that deal with death focus on how the living grieve the dead. Snip, however, focuses on how the dead grieve the living. As living beings, it’s easy to view death as a one-sided experience; this film explores the possibility of a two-way street. Who’s to say the loss of a loved one isn’t felt on both sides?
How have the script and film evolved over the course of their development and production?
Thanks to my amazing creative team, my script was brought to life through the pre-production, production and post-production processes. I was blessed with an amazing Professor (Laszlo Santha) who helped me workshop my idea into a first draft and finally into a shooting script. The first people to bring my story into being were my actors, now my family.
I scoured NYC’s talent pool and eventually found Maggie Borlando, Theis Weckesser, and Lydia Light, who brought wonderful movement and moments, even in silence. My DP, Frances Chen, brought amazing depth in color palettes, frames and lighting. My phenomenal production designer, Tyler McGillivary, matched that mood with her costumes and intricate set design. My editor, Nick Blatt, enhanced all of this and pushed me to “kill my babies” for the sake of my film’s rhythm. I can’t thank them all enough for collaborating with me and allowing the ideas in our head to form into what we see on screen.
What type of feedback have you received so far?
The feedback has been very humbling! I held small screenings in NYC and Philadelphia, and people seemed to relate to the concept and the thin line I’ve drawn between life and death. Snip has screened at the Los Angeles International Women’s Festival, Cannes Short Film Corner, and the First Run Film Festival – fingers crossed for more festival feedback!
Has the feedback surprised or challenged your point of view?
As an artist, I am my own worst critic. So it’s been great to hear encouraging feedback from other artists especially. It makes me want to continue making independent film and supporting other indie artists. ESPECIALLY women filmmakers.
What are you looking to achieve by having your film more visible on www.wearemovingstories.com?
Exposure! And a spotlight on female filmmakers? I’m always down for some of that. Nearly all of my department heads were female which was uncommon at NYU and unfortunately continues to remain uncommon in the industry. I feel that my predominantly female crew collaborated extremely well together and fed off of each other’s empowerment in department head positions. Girlpower.
Who do you need to come on board to amplify this film’s message?
Anyone who can help get my film into the universe is someone I want to work with. I think Snip has a unique message and a unique voice, and I want it to have the exposure it deserves.
What type of impact and/or reception would you like this film to have?
If my thoughts on life after death can start a conversation about the great unknown… if people comment on my take on life after death… if someone is touched by the world I’ve created… then my job is done.
What’s a key question that will help spark a debate or begin a conversation about this film?
Do you believe in life after death? What does it look like? What does it feel like? Who would be hard for you to let go of?
Would you like to add anything else?
Visit our IMDB page: http://www.imdb.com/title/tt4177022/
And our FaceBook page: https://www.facebook.com/SnipFilm/
And support indie film and women in film!!
What are the key creatives developing or working on now?
I’m currently in Los Angeles working as an assistant to a wonderful producer/writer/director/actress and role model to me. I’m also writing a feature that I hope to put into the universe shortly! Stay tuned!