Amanda Kopp is an award-winning photographer and artist. She was producer and cinematographer for “Likhaya.” She also filmed for the “The Hunting Ground,” a documentary about the prevalence of sexual assault at college campuses across the U.S. Her photographic work has been published in the UK, US, Sweden, Germany, Russia, Pakistan, and Italy. “Liyana” is her feature directorial debut.
“Liyana” will premiere at the 2017 LA Film Festival on June 17. The film is co-directed by Aaron Kopp.
W&H: Describe the film for us in your own words.
AK: “Liyana” follows five orphaned children in Swaziland as they use their own life experiences to collectively create an original African tale about a young heroine named Liyana.
Half documentary and half animated film, “Liyana” is a celebration of the healing power of storytelling.
W&H: What drew you to this story?
AK: I was drawn to this story by the complex characters of the kids in the film and by the visual possibilities of their lives and their imaginations.
W&H: What do you want people to think about when they are leaving the theater?
AK: I hope that people’s views of “kids like this” will be different than they were when they went in. I want people to know the value of telling their own story and to feel inspired.
W&H: What was the biggest challenge in making the film?
AK: Self-doubt, funding, endurance, and music licensing.
W&H: How did you get your film funded? Share some insights into how you got the film made.
AK: We have been very fortunate to fund the entire film through donations and grants. We did a Kickstarter campaign in the early days of the platform. It was a lot of work but a humbling and affirming experience!
Since then so many individuals, organizations, and grant makers have come alongside us to help make “Liyana” a reality. Interestingly, by far the vast majority of our funders have been women.
W&H: What does it mean for you to have your film play at the LAFF?
AK: LAFF practices what they preach. They really are showcasing new and diverse voices. They are willing to take chances.
That is what we need—people who are brave enough to take a risk on an artist. I am honored to have “Liyana” premiere at LAFF.
W&H: What’s the best and worst advice you’ve received?
AK: Best advice: A painting professor once told me that I have a tendency to pursue my art as if it were to be a prize-winning thoroughbred. He suggested I’d be better off going after a Pegasus.
No need to repeat bad advice.
W&H: What advice do you have for other female directors?
AK: Work on cardio. It is a long race. Literally though, exercise does clarify the pulse and clear the mind. My co-director and I would lose it without our daily workouts.
W&H: Name your favorite woman-directed film and why.
AK: “Wendy and Lucy” by Kelly Reichardt. It does so much with so little. I love small films like this. [And] Michelle Williams’ performance [is amazing].
W&H: There have been significant conversations over the last couple of years about increasing the amount of opportunities for women directors yet the numbers have not increased. Are you optimistic about the possibilities for change? Share any thoughts you might have on this topic.
AK: By nature artists are optimistic, and I have to say, in my little world of indie doc production I have felt welcomed and affirmed so far.
I see the efforts being made to make the industry more inclusive. I know women will not put up with being held back. It is just a matter of time. But like I said, the race is long.
I look forward to the day when the fact that a director is a woman is no longer notable.
