Abi Damaris Corbin is a Boston-bred writer and director based in Los Angeles. Corbin’s BAFTA shortlisted live-action short “The Suitcase” had its world premiere at the 2017 Tribeca Film Festival and screened worldwide as an official selection at over 50 festivals. It was distributed on ShortsTV, ARTE, and HBO, and won multiple prizes and was nominated for awards at internationally renowned festivals. The pioneering technology developed on the project has been adopted as standard by the Society of Motion Picture and Television Engineers, where Corbin contributes as a speaker. Outside of production and creative tech, she works with non-profit organizations in urban areas concerned with social and economic change.
“892” is screening at the 2022 Sundance Film Festival, which is running online from January 20-30. More information can be found on the fest’s website.
W&H: Describe the film for us in your own words.
AC: It’s a true story about a sincere-hearted rebellion and what it looks like and means for an individual to rebel against a broken system.
W&H: What drew you to this story?
AC: I read an article by Aaron Gell: in it I recognized a story I’d lived through with my dad. My heart was broken open and I had to tell it.
W&H: What do you want people to think about after they watch the film?
AC: What can they do – where they are – to do right by the people around them.
W&H: What was the biggest challenge in making the film?
AC: COVID! It added so much complexity to every step of an already complex production, but wow — our team was so adaptive to health protocols and innovative in finding ways to craft quality with additional communication barriers. I learned to project through that mask!
W&H: How did you get your film funded? Share some insights into how you got the film made.
AC: Our incredible development partners at Salmira came in as the main financiers. It was their first project as such, and they jumped in and took a chance on me because they wholeheartedly believed in the story.
W&H: What inspired you to become a filmmaker?
AC: It’s a way to leave a mark, to change hearts and minds. Plus, I love every piece of the art of it.
W&H: What’s the best and worst advice you’ve received?
AC: Best advice: Give yourself a sulk timer. When bad stuff happens – which it will in indie filmmaking – lament it, then put one foot in front of the other and move toward your goal.
Worst: On the next project you can stay true to your vision.
Don’t work out of a place of fear. It’s easy to do so when you are early in your career and surrounded by people with more power. Stay true to your voice and find a way to make it true within the parameters you have.
W&H: What advice do you have for other women directors?
AC: Learn to write.
W&H: Name your favorite woman-directed film and why.
AC: Recently, I re-watched and loved “Little Women” by Greta Gerwig. She took such a known story and made it feel new to me and modern audiences. What a feat.
W&H: How are you adjusting to life during the COVID-19 pandemic? Are you keeping creative, and if so, how?
AC: Well, I’ve learned that I need people! They’re why I tell stories and where I get all my ideas, so I’ve had to seek them out.
W&H: The film industry has a long history of underrepresenting people of color onscreen and behind the scenes and reinforcing — and creating — negative stereotypes. What actions do you think need to be taken to make it more inclusive?
AC: Don’t just say a person’s name in a room; hire them. If they’re not ready, train them.
