A young violinist struggles to break free from her pianist father to find her own voice.

Interview with Writer/Director/Producer Catherine Dudley-Rose

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Congratulations! Why did you make your film?

I made Parallel Chords to reach people who wish to find their own creative voice, but are facing obstacles. The film also (hopefully) allows those who did choose a path less traveled, to reflect in a way that gives a glimmer of peace.

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

Quick commercial answer: it’s a beautiful film with great performances and excellent music! The deeper answer: the film provides a cinematic way to better understand the journey of a young female artist. There are multiple styles of music, as well as theatre, and strong actor performances that will keep you entertained and interested in the themes and conflicts presented. We deal with an intimate father-daughter relationship, which is a relationship rarely explored in film, but this encourages better understanding between generations.

How do personal and universal themes work in your film?

Most of us have had struggles with something that we’re keeping to ourselves or trying to figure out.

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

I wrote the feature length screenplay first. It had traction and was optioned more than once when I was in NY, but it was at a time when audiences might not have been ready for it. I ended up re-writing the feature into a short, which was unbelievably difficult in this case. We filmed the short first, gained interest and momentum, and re-approached the feature.

What type of feedback have you received so far?

The feedback is the most rewarding aspect of this film. The film stirs up things in people and provokes them to want to share their own “parallel” story. This is usually expressed with a great deal of passion, followed by thanks for showing something they have wanted to see but never have.

Has the feedback surprised or challenged your point of view?

Not really. There is a particular scene in the film that I know will bring up various points of view. I’ve intentionally created a scene that isn’t entirely black and white in its approach. I’m excited about how women audience members have discussed the scene with male audience members.

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

Hopefully those that are reading the interview will attend the screening on July 29th at 5pm at the 27th Woods Hole Film Festival. Our film screens at Falmouth Academy. Those who love the arts should attend!

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

Sales agents, buyers, and distributors to come on board are needed. Also seeking producers, and producers of marketing and distribution. PR.

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

After seeing the film with 250 people of various ages and backgrounds, most with a love of the arts, I could strongly observe this is an audience driven film. People want to talk about what they’ve seen and I would love the film, and the after-conversation to spread worldwide.

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

It’s hard to mention this question without giving anything away. But many people at the recent screening cried, and more than a few of them asked if the daughter reaches out to her father in the end, and if so, when?? They are worried, and whether you are a parent or a child separation is tough.

Would you like to add anything else?

I’d like to say that my father’s recordings are being used in the film, along with many other wonderful musicians, and I hope the music (soundtrack) can carry on throughout the years.

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

Several projects are on the boards. Though some much needed attention on my mother, who fell ill a week after filming, will be a priority.

Interview: August 2018

We Are Moving Stories embraces new voices in drama, documentary, animation, TV, web series, music video, women's films, LGBTQIA+, POC, WOC, Latinx, 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

Parallel Chords

A young violinist struggles to break free from her pianist father to find her own voice.

Length: 99 min

Director: Catherine Dudley-Rose

Producer: Catherine Dudley-Rose & Allyson Mace

Writer: Catherine Dudley-Rose

About the writer, director and producer:

CATHERINE DUDLEY-ROSE is an award-winning writer/director, actress and musician. Her film recently won Best Narrative Feature in St. Louis, and will in the New Filmmaker Forum at the St. Louis International Film festival this fall. She has taught at the NY Stage & Film Program, won the “Curator’s Pick” cash prize from WIF Seattle, and was a kick off speaker for the Citizen Jane Film Festival. She is an NEA, and RAC grant recipient.

Key cast: Bjorn Johnson, Rachel Ann, Laura Kirk, Hunter MacNair, Ella Fallon, Ford Fanter

Looking for: producers, sales agents, buyers, distributors, journalists/pr.

Facebook: Parallel Chords film

Twitter: @parallelchords

Instagram: @cdwelcome

Other: LinkedIn (Catherine Dudley-Rose)

Official website: www.parallelchords.com

Funders: Executive Producers, crowdfunding, and grants.

Made in association with: 2 focus films, & bent mind productions

Where can I watch it next and in the coming month? Just screened in St. Louis, Next stop Woods Hole Film Festival MA, Film Festival of Columbus after that. Later in the year St. Louis International Film Festival (in Nov).