When their car breaks down a father and daughter look to one another for love and support, even after the presence of an unwarranted police officer reminds of the conflicted world outside of their bond.

Interview with Writer/Director/Producer Aisha Ford

Congratulations! Why did you make your film?

I made my film to explore the everyday life of black and brown folks and the constant threat of policing in a community. In my film, I wanted my characters to still have joy and not let police presence take that away.

Imagine I’m a member of the audience. Why should I watch this film?

I’m aware that my film is not for everyone and that it may cause discomfort to some audience members. However, I think you should watch this film because it is the reality of black and brown folks around the world.

How do personal and universal themes work in your film?

I have a personal connection to this film because I remember when my father was pulled over by a policeman while I was in the car. First, we were joking around trying to get home and all of a sudden a cop pulls up behind us. I could see my father completely shift into a man that had fear in his eyes. I learned that this is a very universal aspect of black life—not just for black men, but for black women as well.

How have the script and film evolved over the course of their development?

Nothing particularly changed throughout the course of my film’s development. I went in pre-production knowing what I wanted to write and more. However, there was this constant question in my head about if I wanted the police to walk by the father and daughter or stay at a distance. In the end, I decided to have the policeman stay in the vicinity because my film is not exactly about the cop. It’s more about the development of the father-daughter relationship.

What type of feedback have you received so far?

Some of the feedback that I received so far has been positive. I’ve heard that it's a very authentic film and that it tells a story about the psychic brutality of the basic relationship with the police. Also, some were captured by the authenticity of the daughter’s performance.

Has the feedback surprised or challenged your point of view?

Yes! One of the first criticisms I received was about the shot of the policeman’s gun. I was told it was too heavy handed and that actually surprised me. Some were saying that it was too on-the-nose and it should be omitted from the film. However, I decided to leave the shot in because sometimes a cop will operate from a place of fear and reach for his gun too quickly.

I did not want to sugar coat it in a way that makes my audience members feel that my characters are safe. A filmmaker by the name of Euzhan Palcy was quoted as saying that “you must be honest. You cannot lie or put limits on what you are talking about. And if the audience cannot take it, they cannot take it. You have to respect your subject.”

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

I want my film to have more visibility on your website to contribute to the ongoing conversation of police relations in black communities. Why is police brutality so dominant in our society and what can we do to stop it?

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

I need film festival directors, journalists, and producers—anyone that's willing to help broadcast or open more dialogue about my film.

What type of impact and/or reception would you like this film to have?

The reception I want for my audience is to feel a roller coaster of emotions; to feel joy but devastation simultaneously. I want them to understand the complexities of policing in black and brown communities. I also want to spark more conversation about this issue as it relates to women of color.

What’s a key question that will help spark a debate or begin a conversation about this film

Does this really happen?

Would you like to add anything else?

Not at this moment. Thank you very much!

What other projects are the key creatives developing or working on now?

Right now, I am in pre-production for my short film “Royal”, My story follows an African American teenage girl, attending a predominately white high school, who’s in danger of compromising her self-worth when her principal offers her an opportunity that will change her life. Production is slated to begin in January 2019.

Interview: November 2018

We Are Moving Stories embraces new voices in drama, documentary, animation, TV, web series, music video, women's films, LGBTQIA+, POC, First Nations, scifi, supernatural, horror, world cinema. If you have just made a film - we'd love to hear from you. Or if you know a filmmaker - can you recommend us? More info: Carmela

BREATHE

When their car breaks down a father and daughter look to one another for love and support, even after the presence of an unwarranted police officer reminds of the conflicted world outside of their bond.

Length: 3 mins.

Director: Aisha Ford

Producer: Aisha Ford

Writer: Aisha Ford

About the writer, director and producer:

Aisha Ford is an award-winning filmmaker currently studying as a 2nd year graduate film student at NYU Tisch School of the Arts.

Key Cast: Sydnee April Symone, James Becton and Jacopo Paoloni

Looking for (producers, sales agents, buyers, distributors, film festival directors, journalists): Film Festival Directors

Social media handles:

Facebook: facebook.com/aisha.ford.1

Twitter: @esha4rd

Instagram: @esha_4rd

Hashtags you use: #womeninfilm #blackgirlmagic #shotonfilm

Where was this filmed?: Newark, New Jersey

Funders: Self-funded

Made in association with: NYU Tisch School of The Arts

Where can I watch it next and in the coming month?:

I’m not sure, hopefully “BREATHE “ will be accepted at Slamdance. Fingers crossed!