Five Questions With... Kana Hatakeyama, Writer/Director of OKAASAN (MOM)

After the loss of a beloved family member, a daughter returns from far away to her mother's home in Japan; mother and daughter attempt to work past the guilt and distance in order to reconnect, each in their own ways. 

We spoke with Kana Hatakeyama, writer/director (and actress and producer, too!) of OKAASAN (MOM), playing in the shorts program "Everything Is Gonna Be Alright" on Sun, June 24 at 9am. Read more with Kana and catch the film this weekend!

KANA HATAKEYAMA

KANA HATAKEYAMA

NFF: Can you talk a little about your inspiration for the film?

KANA: I had been working on writing several different projects, but this is the one that I ended up finishing first. It wasn't a conscious choice, but I think it did come out first because it was important to me. That being said, the film was shot in my native Japan, and it had been a goal of mine as an artist to capture what my beloved homeland has meant and felt like for me over the years--a bit different in perspective from the representation of Japan in film I'd been exposed to growing up in the U.S., which generally seems to focus more on the exotic aspects of the country and culture. I wanted to portray a mother-daughter story set in an area of Japan that I personally love, a distinct Japanese space where bits of the urban and the mythical nature co-exist. Also, as a Japanese woman and an Asian-American woman, I wanted to tell a story with two female Japanese, Asian protagonists who are fully human, complex, and do not play into any sort of stereotypes.

NFF: Why or how did you decide to have your own mother act in the film?

KANA: I had written it with her in mind, and I had always felt that something about her way of being in real life would translate beautifully on-screen. In addition, I only had 6 weeks from when I decided I was going to shoot it to production, and I was also self-financing and thus working with a very limited budget, so I had financial and time constraints that I would have had to contend with had I decided to find another actress. And although my mom hasn't been working professionally as an actress, she did theater when she was in university, so acting wasn't something that was totally foreign to her. Also, part of the reason I wanted to make the film was to get to spend time and do something meaningful with her, so I asked. Initially she hadn't thought she was going to be acting in it so she was like, "I can't," and I was like, "Mom, you must." And fortunately she ended up agreeing to do it :)

NFF: I know you have a background in theatre - how was making a film similar or different?

KANA: It was really cool and a bit surprising to discover, what I found most similar to the rehearsal process in theater was the editing process. In theater, you rehearse, you try things, and you come up with some sort of draft, a version of the scene or play. You do it, you learn from it, and then you build on it, with each new draft, new layer, new rehearsal. Sometimes you discover that what you had before worked better, sometimes you try something completely new and different. The editing process was very similar. Working with my wonderful editor Ronnie Rios, we'd come up with a cut, we'd watch it, learn from it, and try again, and with each new cut, we were able to get closer to the core of the story, which to me is exactly the same as the rehearsal process in theater. I loved it. 

NFF: Did you face any challenges or surprises while filming?

KANA: Because we had a skeleton crew--partly because I didn't have the money to hire more crew, transport them, and house them, and also because I thought a smaller crew would work better for this intimate story I wanted to tell--beyond directing and acting, there was a lot to be done, including basic but very important stuff like making sure there was enough coffee and food for everyone. I had help from my mom and our AD, but at the end of the day there was very little time for sleep, so that was challenging, wearing so many hats at once. A lovely surprise I had while filming was the fact that my dog is a very talented and eager actress, as she barked her way into more scenes than she was originally written into. Fortunately, it worked out because she was brilliant, and really brought so many additional layers to the film. She is a star, and I'm very proud of her and her work in the film.

NFF: Why are you excited to screen in Nantucket, and/or what do you hope Nantucket audiences might relate to or takeaway from the film?

KANA: I'm so excited to screen in Nantucket because I've heard such wonderful things about both the festival and the island! I've never been to the island or the film festival, so am really looking forward to getting to discover both. I hope that Nantucket audiences in turn will get to discover a part of Japan that they may not have yet been exposed to, as well as relate to something explored in the film, whether that be loss or guilt or mother-daughter relationships.

Five Questions With... Miguel Alvarez, Director of ATLANTIC CITY

ATLANTIC CITY is about two men working odd jobs throughout Texas, as one longs to see his estranged mother. With Raúl Castillo (also starring in We the Animals).

We spoke with director Miguel Alvarez about the film, playing in the EVERYTHING IS GONNA BE ALRIGHT narrative shorts block on Sun, June 24 at 9am. Read more with Miguel below, and catch his short on Sunday morning!

MIGUEL ALVAREZ

MIGUEL ALVAREZ

NFF: Can you talk about your inspiration for the film?

Miguel: I’m from San Antonio and wanted to make a film about the city as seen from a different perspective. I also wanted to make a film about family and all the messy entanglements that come with it.

NFF: I hear you're super close with the two lead actors - was this story written with them in mind?

Miguel: Yes! I always had both Felix Solis and Raúl Castillo in mind for the film. The three of us are close friends and had talked about making something together for years. Felix and Raúl have a brothers-like relationship and we wanted to play off of that.

NFF: Is it easier or harder to work with people/friends you know?

Miguel: Both! Because we’re all good friends communicating was easy on set. But sometimes you think that because we all know each other so well that we can read each others’ minds, but you find out pretty quickly that isn’t the case!

NFF: Did you face any challenges or surprises while filming?

Miguel: Well, we filmed in four separate cities in five days, with rain tossed in. That was challenging.

NFF: Why are you excited to screen in Nantucket, and/or what do you hope Nantucket audiences might relate to or takeaway from the film?

Miguel: I’m hoping audiences walk out with a better appreciation for what family means. Whether related by blood or not, we all have people who we are extremely tight with and are constantly faced with choices that affect that relationship.

Five Questions With... Robert Greene, Director of BISBEE '17

Bisbee, Arizona, a former copper-mining town on the border with Mexico, has never reckoned with its dark past. In 1917, a strike by mine workers, many of them immigrants, was violently brought to an end with an illegal forced mass deportation. On the occasion of this tragedy's centenary, innovative nonfiction filmmaker Robert Greene (Kate Plays Christine, NFF 2016) collaborates with residents to confront this troubling episode through a town-wide reenactment, one that has haunting resonance with our present-day debates about immigration, unions, and corporate power.

Robert sent in this special video interview below - take a look, and check out BISBEE '17 on Sat, June 23 at 8:30pm and Sun, June 24 at 4pm!

Five Questions With... Rudy Valdez, Director of THE SENTENCE

Director Rudy Valdez’s sister, Cindy, a married mother of three young girls, long ago left a drug-dealing ex. Despite this, she receives a mandatory minimum sentence of 15 years in prison under conspiracy charges related to his crimes. Over a period of ten years, Rudy’s camera captures the moments in his nieces’ lives that Cindy is missing. This personal portrait of the devastating impact of draconian laws on families was an Audience Award winner at this year’s Sundance Film Festival.

Read more with Rudy below, and see THE SENTENCE on Fri, June 22 at 2pm and Sat, June 23 at 10:30am!

RUDY VALDEZ

RUDY VALDEZ

NFF: This film is obviously very personal to you - did you have any reservations about laying yourself and your family's story bare? 

RUDY: The film is very personal.  I certainly had reservations about telling such an intimate story, but ultimately felt like I would be doing my family a disservice if I didn’t share.  To me, this was only going to remain a terrible event in my family's history if we allowed it to be.  I wanted so much to make something good out of this.  I promised my family that I wouldn’t let this be in vain.

NFF: Did making the film change your relationship to your sister (or your family at large)?

RUDY: The film did not change our relationship - what you see on screen is what you get.

NFF: What would you want to tell audiences who want to get involved in a prison reform campaign or conversation?

RUDY: When audiences ask how they can get involved I often say pay attention to what you are voting for.  Read between the lines when people starting using rhetoric like “soft on crime” or “hard on crime”.  With that said, I also ask people that are moved by the film - that feel like this is a call to action for them - to fight! There are so many people in prison with stories just like my sister.  They don’t all have someone on the outside fighting for them.  Find someone and fight for them. 

NFF: Did you face any particular challenges or surprises when filming/assembling the film?

RUDY: No!

NFF: Why are you excited to screen in Nantucket, and/or what do you hope Nantucket audiences might relate to or takeaway from the film?

RUDY: I’m excited to screen and Nantucket because as a documentary filmmaker we often work in a vacuum.  Wondering if what we are making is going to resonate.  If it’s going to be seen at all. To be invited to such a wonderful film festival is an honor, and I can’t wait to share the story and see what the audience takes away from it.  

Five Questions With... Sarah Ginsburg, Director of SPACESAVERS

Sarah Ginsburg's short documentary SPACESAVERS profiles how when it snows, Boston residents respond to threats to parking spaces with subconscious self-expression.

We spoke with Sarah about this short and sweet doc - read more, and check it out in the shorts program "It's All True," playing Thursday, June 21 at 9am!

SARAH GINSBURG

SARAH GINSBURG

NFF: What inspired the film? Are you a Boston local?

SARAH: I went to school in Boston and stuck around for about 5 years after graduating, watching a majority of my peers leave for bigger cities and warmer climates. As rent prices increased, I found myself living in a funny little residential neighborhood in Somerville alongside mostly retired folks who had grown up there. Boston's winter of 2015, with its relentless and record breaking snowfall, showed me a side of the city, including my own quiet neighborhood, I hadn't seen before but totally believed. The items people chose to put out on the street and save their much labored over parking spot spoke so loudly to me. I saw determination, persistence, wit, humor, pride, sacrifice and artistry in the space saving operation but then I also saw a simple way to document it. 

NFF: The film communicates everything it needs to in just three minutes. Did you cut a lot of material down, or did you always intend it to be a snapshot? 

SARAH: As with any film ever made, the stripping down of this film in the edit was painful but necessary. With the help of friends' feedback, I let the space savers be the lead in a solo performance instead of trying to paint a well-rounded portrait of the neighborhood and all its quirks. Once I recovered from losing some of my favorite shots, I focused on creating different feelings and bringing out the whimsy of it all by playing with the order of shots and audio.

NFF: Did you discover any particularly weird or interesting space spavers? 

SARAH: It's not in the film but there's the well-known and highly anticipated bust of Elvis that some one in Southie puts out every year. I love to see any type of toilet out there doing its job. My favorite in the film is definitely the walker that my next door neighbor's put out with a laminated sign explaining why it would be rude to move the walker and take the spot.

NFF: Did filming present any particular challenges you weren't anticipating? 

SARAH: Taking your gloves off to set up a freezing cold metal tripod and press record as gusts of wind blow snow in your face can be challenging but I'm extremely tough and brave and had on a super warm winter coat given to me by my mom, so I was just fine.

NFF: Why are you excited to screen in Nantucket, and/or what do you hope Nantucket audiences might relate to or takeaway from the film? 

SARAH: I consider Boston and Nantucket to be friends. There's a camaraderie that exists probably because of proximity, sports teams and extreme weather. Just as you'd help your neighbor shovel their car or maybe just share their pain from inside your warm home as you watch them shovel their car, I imagine Nantucket residents and festival attendees enjoying a little bite of Boston's rich heritage captured.  

Five Questions With... Finn O'Hara, Director of I LOVE YOUR F*CKING NAME

In the short documentary I LOVE YOUR F*CKING NAME, people discuss the trials and joys they have experienced because of their unusual or famous names.

We spoke with director Finn O'Hara about the film and what's in a name. Read more, and see the film in shorts block "It's All True," playing Thursday, June 21 at 9am!

FINN O'HARA

FINN O'HARA

NFF: How did you find all of the subjects? 

FINN: I started with a Craigslist ad as I wanted the casting process to be an unexpected exercise. I thought that if people saw the ad, or heard about it, they’d be drawn into the conversation I was looking to have about the complex relationship they had with their given name. If it piqued their interest, I knew I’d have an engaged participant.

NFF: Can you talk a little about your inspiration, and/or why you wanted to share these stories? 

FINN: Growing up in the rural country meant that my super Irish name marked me as being different. I didn’t want to be different, and I just wanted to fit in. I always had to explain my name, and I stored up a handful of responses to the same questions about my name that would help diffuse the attention my name brought me. I was shy, and didn’t like the attention that my name brought to me in social situations. I hated my name, and tried my best to hide it. But it was in University, in another town, that my name was actually well received. Random people would actually come up to me and say “Hey, I love your fucking name”, and it really took me by surprise. At that time in my life, I began to discover who I was and began to like myself. My name actually helped mark me as being different and it made me who I am.

So fast forward to a few years back when I realized that many people have gone though the same paths as me with their names, and I saw it as a way to explore how people grow with what they have, and love who they are.

NFF: Have you struggled at all with your own name? Or do you f*ing love your name?

FINN: See above! And oh yes, I love my fucking name.

NFF: Any particular challenges or surprises that came up during shooting?

FINN: We were really surprised by the level of sincerity and openness that our subjects gave me during their interview. It was the first time I had met all of them, and our conversations were candid and inspiring. 

Oh, and that Peter Pan actually dressed as Peter Pan for Halloween. That kept us in stitches for a while.

NFF: Why are you excited to screen in Nantucket, and/or what do you hope Nantucket audiences might relate to or takeaway from the film?

FINN: I’m hoping that the Nantucket audiences take away from my film the fact that most of us share a common journey about personal acceptance and our unique space in the world. Some just have a steeper pitch to climb along that journey, and we can all learn through this film’s light hearted, empathetic conversation.

Oh, and if you’re going to have kids, spend a bit of time before you name your child. Say the whole name out loud, ask your friends, Google it. Do your homework and dodge a lifetime of regret.

Five Questions With... Donal Lardner Ward, Writer/Director of WE ONLY KNOW SO MUCH

WE ONLY KNOW SO MUCH reveals the emotional life of four generations of the Copeland family. As Jean (Jeanne Tripplehorn) reckons with the consequences of an affair, her husband, Gordon (Damian Young), worries he’s falling prey to the same dementia that has afflicted his father, Theodore (Loudon Wainwright III). Their children, Otis (Noah Schnapp, Stranger Things) and Priscilla (Taylor Rose), navigate the pitfalls of first love and young adulthood, while the family’s 95-year-old matriarch, Vivian (Virginia Robinson), struggles to maintain control of the household in this comedic drama.

Read more with writer/director Donal Lardner Ward below, and join us for the WORLD PREMIERE of WE ONLY KNOW SO MUCH on Thurs, June 21 at 3:30pm and Sat, June 23 at 4:15pm!

DONAL LARDNER WARD

DONAL LARDNER WARD

NFF: Can you talk a little about your inspiration for the film? 

DONAL: I was looking for something that could be shot on a micro budget, in a contained way, when I read my old friend, Betsy Crane’s, debut novel about a multigenerational family spinning out in different directions, in search of something they feared they’d lost or might never gain. I feel that sort of self-centered fear is endemic and destructive in contemporary life and I wanted to explore it. I also knew an increasing number of people who were dealing with taking care of elderly, sick parents and young children at the same time. What they call the “sandwich generation.” It’s a growing phenomenon, with people living longer and having kids later, and I hadn’t seen it addressed very much. By the time we finished the film I was living it. 

NFF:  The film depicts many different permutations and variations of love. What's your definition?

DONAL: Love is the particle that charges the atom of humanity, the connective tissue that gives our species dimension, shape, insulation against the chill of the great void. Without love, in all its forms, we drift apart, dissipate into nothingness.

NFF: How did Jeanne Tripplehorn become attached to the project? Had you worked together before?

DONAL: I met Jeanne through our mutual friend, Ben Stiller, many years ago. When I showed him the script for the film he thought she might be right for it. That was an understatement. 

NFF: Did you face any particular challenges or surprises while filming?

DONAL: We faced the age-old, dual challenge of independent filmmaking: lack of funds and time. There were a couple of things we missed in our lightning fast, 15-day schedule. However, by the time we organized reshoots at the beautiful old house that was our primary location, it had been sold and leveled, reduced to a pile of brown dirt. We had to recreate a section of the exterior on a shoestring. The enthusiastic commitment of our amazing cast and crew made the impossible possible. 

NFF: Why are you excited to screen in Nantucket, and/or what do you hope Nantucket audiences might relate to or takeaway from the film?

DONAL: I’m excited about screening at Nantucket because it’s a literary festival, a place where audiences appreciate thoughtful storytelling. The film is based on a novel, and books, and the concept of story, are central elements. I hope people come away from the film with a refreshed appreciation for the people and love they have in their lives. 

Five Questions With... Jeremiah Zagar, Director of WE THE ANIMALS

Adapted from the magical realist novel by Justin Torres, this Sundance award-winning film depicts three inseparable brothers growing up in a volatile household. Jeremiah Zagar brings the audience into intimate proximity with the boys, who watch, without always comprehending, the troubled relationship between their parents (Raúl Castillo, Sheila Vand), and, in their own ways, emulate them. The perspective of the youngest son, Jonah (Evan Rosado), who recognizes that he is different from his brothers, takes center stage in this poetic and impressionist coming-of-age story of self-discovery.

Read more with director Jeremiah Zagar below, and see WE THE ANIMALS on Wed, June 20 at 8:30pm and/or Thurs, June 21 at 5:30pm!

JEREMIAH ZAGAR photo credit Mike Kamber

JEREMIAH ZAGAR
photo credit Mike Kamber

NFF: Can you talk a little about the challenge in adapting a book to film?

Jeremiah: After I read the book and Justin Torres said yes to having me adapt it for the screen, I brought on my friend Daniel Kitrosser, whom I’ve known since High School, to co-write the script as he had a very similar sexual experience in his upbringing to the young man in the book. Our starting point was the two of us sitting there and translating the novel directly to the screen. After participating in the Sundance Labs program, we realized there’s much more work to do. We remained as true as possible to the book, but we had to change certain things for it to work cinematically such as having the story take place over the course of one year instead of many years so the audience could have a deeper emotional connection with the characters.

NFF: How did you come to the idea of using animation?

Jeremiah: We needed to get into the interior mind of the young main character, Jonah, so at first, we just had shots of the still drawings on the page. After watching the first cut of the film, it became clear that it wasn’t enough to see these drawings laying flat on the screen. With my background being in animation and using it in my previous films, it was a go-to that made complete sense to me. Everyone involved loved the idea so we went with it.

NFF: How did you find your remarkable child actors, and what was it like building a family with them on set?

Jeremiah: We had an incredible Grassroots Casting Director Marlena Skrobe. We worked with her previously, as she was actually an intern at Public Record, the production company Jeremy Yaches and I are partners in.  Marlena went around the city and saw around one thousand kids for the film. But not only did we have to find three incredible actors, but three incredible actors that felt like brothers. I’d say finding them was less of a challenge and more of a miracle.

Once we found our cast, it was all about creating an environment on and off set where they could feel like they lived together. That was important to us as it created a beautiful bond between the actors that is intangible yet still present when watching the movie.

NFF: Did you face any challenges or surprises while filming?

Jeremiah: Everything was a challenge and a surprise.

NFF: Why are you excited to screen in Nantucket, and/or what do you hope Nantucket audiences might relate to or takeaway from the film?

Jeremiah: I hear Nantucket is a beautiful place and I wish I could be there with you.

Five Questions With... Jesse Peretz, Director of JULIET, NAKED

Annie (Rose Byrne) is in a rut. Her long-term boyfriend, Duncan (Chris O’Dowd), is more devoted to the music of faded singer-songwriter Tucker Crowe (Ethan Hawke) than he is to their relationship. When an unreleased demo of Tucker’s acclaimed 25-year-old album surfaces—prompting the reclusive artist's own reemergence—Annie and Duncan’s routine existence is upended in unpredictable ways. Based on the best-selling novel by Nick Hornby, JULIET, NAKED is an insightful and charming romantic comedy.

We spoke with JULIET, NAKED director Jesse Peretz about the film. Read more with him below, and see the film on Thurs, June 21 at 1pm and/or Fri, June 22 at 3:34pm!

JESSE PERETZ

JESSE PERETZ

NFF: Can you talk about your inspiration for the film (visual or story-wise)?

Jesse: It is hard to be entering into the world of film adaptations of Nick Hornby novels without siting ABOUT A BOY and HIGH FIDELITY as key references. Both are movies I adore.  But I would also say that a key part of my life that I kept coming back to while we were developing this project was my days in the late ‘80s and beginning of the ‘90s when I was the bassist of the band The Lemonheads, and lived a life pretty ensconced in the pre-Nirvana punk/indie music scene.  This was the world that our character Tucker Crowe lived in back in his mythologized past, and so exploring those memories were key to defining who he was.

NFF: Which music artists or musical forms are you personally obsessed with?

Jesse: My musical obsessions over the years have bounced around between ‘60s soul (I remember being given a Marvin Gaye and Tammi Terrellalbum in 1977 that was spinning non-stop on my turntable for a year), Be Bop Jazz and Punk Rock.  In particular I would say that Elvis Costelloand Big Star are probably the artists I have clocked the most hours in my life consuming and re-consuming.  This is music that never gets old to me.

NFF: How did you decide or collaborate on the way the music in the film should sound

Jesse: Obviously for this film the music was of extra importance in the shaping of the film and the story, as who Tucker Crowe is/was as a musical figure is central to the story.  My friend (and musical collaborator on almost of my projects) Nathan Larson and I have a deep history of shared loved music (and being in bands that toured together), so we (along with our brilliant music supervisor, Maggie Philips) listened to a lot of music from the period and styles we thought Tucker Crowe would have lived and worked in, and narrowed in on what we found most compelling directions to follow.  But then we included a number of song writers in the process by putting out an appeal for original songs with these influences in mind, and saw what kind of songs came back.  We used the ones that we felt best served the vibe we were looking for - and of course the ones we liked the most.  Then Nathan and Ethan Hawke went and spent a bunch of days in the studio recording them, and putting their own spin and inspiration into the session.  It was a very exciting process, but also filled with dead ends that were often filled with frustration.

NFF: Did you face any challenges or surprises while filming?

Jesse: We shot the entire film in England (even though a bit of it takes place in New York State), and it was a shock for me to learn how strict the English were about sticking to a 10 hour day - something almost unheard of in the US.  I couldn’t imagine how we could responsibly go into each day knowing we would get what we need in those hours, but to my surprise it was not only completely doable (with a few exceptions) but also created a working environment that was mentally so much more focused, civil and calm.  People came to work having had a good night’s sleep and a life since we wrapped the afternoon before.

NFF: Why are you excited to screen in Nantucket, and/or what do you hope Nantucket audiences might relate to or takeaway from the film?

Jesse: I am very excited to bring the film to the audience in Nantucket.  I hope that people connect with what I believe are universal themes of second chances and the struggles to conquer our fears we have failed the ones who need us most.  Mostly I hope that people find it both entertaining and emotionally honest.

Five Questions With... Rory Kennedy, Director of TAKE EVERY WAVE: THE LIFE OF LAIRD HAMILTON

If you missed #NFF17 documentary TAKE EVERY WAVE: THE LIFE OF LAIRD HAMILTON, you're in luck - it opens in theaters this weekend!

In this breathtaking portrait, acclaimed documentary filmmaker Rory Kennedy (Last Days in Vietnam, NFF 2014) takes on the legendary Laird Hamilton (Riding Giants, NFF 2004), a maverick who has redefined big wave surfing over the past four decades. This visually resplendent film follows the movie-star handsome Hamilton in Hawaii, as he eagerly awaits El Niño-powered waves of an unprecedented size, prompting reflection on his lifelong drive to conquer unrideable waves. Buoyed by the memories of family and friends, the charismatic surfer relates the struggles of his early life, the refuge he found in the ocean, and the fearlessness that has served as a constant source of innovation—and controversy—in his career.

Read more with Rory below, and check out local screening opportunities near you!

Rory Kennedy at #NFF17

Rory Kennedy at #NFF17

NFF: How did you first become acquainted with and interested in Laird's life and story?

Rory: I was introduced to Laird through a mutual friend who thought throwing two people together who wouldn't normally know each other might be interesting. Although I didn't know much about surfing before, I grew up on the water and have an appreciation for the water, and I grew up with surf and ski movies - and we were surrounded by sports figures - making a film about an athlete in the water was not totally an unfamiliar idea.

NFF: The film is tonally a bit different from others you've made in the past, and focuses on a single subject rather than, for example, a larger group. Was that conscious departure for you as a filmmaker?

Rory: I'm equally passionate about whatever sparks my interest. You commit over a year of your life to the making of a film, so it's hard to work on a subject you don't care about. It took a little while to wrap my head around this particular story and give myself permission to make a "fun" film - but I couldn't let the idea go. I wasn't interested in a typical surf film - I was interested in Laird and his story and his motivations; what he's accomplished on the water and how he's revolutionized the sport. I was curious to explore what makes a person the best they can be.

NFF: Shooting in and around water is notoriously challenging. Can you talk a little about that process making this film?

Rory: It of course presents a new set of challenges - how do you know when the wave is coming, for example. It took some time to understand how waves work and how best to shoot them. I watched a lot of surf films, and I do ski, so I know you can be on the steepest run and it looks flat in pictures, so there's something about the angle of shooting that shapes how it looks. In our case shooting by helicopter was the best way to keep up with Laird.

NFF: What surprised you the most while you were making the film?

Rory: I think I didn't fully appreciate Laird's childhood and what he went through when he was younger. I now have a deeper appreciation for his focus and passion - his personal journey is extraordinary.

NFF: What do you hope audiences will take away from seeing the film?

Rory: I just hope people actually go to the theaters! You need to appreciate the awe and enormousness of the waves on a big screen - we made the film for that experience, so please support the film in theaters, and enjoy the ride and thrill in watching it that doesn't translate to a tv or computer screen. Check out our website for screening times and locations

take every wave: the life of laird hamilton

take every wave: the life of laird hamilton