Becca Gleason is the writer and director of three short films which made the rounds on the festival circuit; her directorial debut, “Molly,” won the LACMA Young Directors award, and her second short, “We,” sold to Sundance Now for TV development. Gleason has since spent the past few years directing series and shorts for digital companies AwesomenessTV and NewForm Digital. “Summer ’03” is her feature debut.
“Summer ’03” will premiere at the 2018 SXSW Film Festival on March 10.
W&H: Describe the film for us in your own words.
BG: “Summer ’03” is a small fraction of what it was like to grow up in suburban Ohio in the early oughts. We follow Jamie Winkle, who is played by Joey King, through one week in the summer of 2003 after Dottie, her grandmother, and matriarch of the family, passes away.
Before her death, Dottie decided to bequeath tidbits of information to each of her children and grandchildren, most of it emotionally harmful in some way. The family is left to cope with this newfound information, and somehow get through the week leading up to her funeral.
This is all told through the eyes of Jamie, a 16-year-old who has her own problems — to say the least.
W&H: What drew you to this story?
BG: It’s partially autobiographical and partially fabricated, but I was drawn to the idea of having this powerhouse old woman clinging to life and wanting so desperately to be remembered that she doesn’t necessarily care if the memories she leaves her family with are good or bad.
It’s about forgiving those we’re no longer able to confront and embracing the messiness of life and death.
W&H: What do you want people to think about when they are leaving the theater?
BG: Hopefully that they didn’t waste their time!
W&H: What was the biggest challenge in making the film?
BG: Budget, days, time, casting. I feel like we were hit with all of the typical pitfalls of indie filmmaking. Luckily, I have an incredible crew and team who worked together, and somehow finished this film, like, five minutes before the festival. I owe them my life.
We shot this movie at the very end of summer in Atlanta — and by that I mean we were on our knees praying that the leaves would stay green though October. There are a few shots of the film we had to VFX in skies that looked more “summery” — it was terrifying.
W&H: How did you get your film funded? Share some insights into how you got the film made.
BG: I was incredibly fortunate to have Tadmor, a financier, come on board almost immediately after we started sending the script out. My producers at Big Cat, Alexandre Dauman and Danyelle Foord, were attached very early on. The company actually hadn’t even officially been formed yet, but they had sent the Tadmor team my script back in April and within a week we were casting.
It was a fast process, which you never hear about with indie filmmaking, but I was ready and the script was in good shape. I realize I’m very lucky.
W&H: What does it mean for you to have your film play at SXSW?
BG: Everything. I had been told by everyone who’d read the script and seen a cut of this film that it was “perfect for SXSW,” and I guess they were all right. The festival is such a great launching pad for young filmmakers, and I’m very excited and nervous to be a part of such a prestigious crowd.
W&H: What’s the best and worst advice you’ve received?
BG: Best advice: “Don’t focus on the bullshit.” My first AD told me that. I needed to let my fear of being imperfect go and just ride out production. It made my experience much more enjoyable and less panic-inducing.
The worst advice? “Come on, just one more drink, you’ll be fine.” Going to set hungover at 5am is the worst.
W&H: What advice do you have for other female directors?
BG: Say what you mean and mean what you say. I catch myself apologizing and worrying I won’t be liked or that I’ll be labeled difficult, but the more I stopped caring about it, the more I realized I loved being the boss and I shouldn’t apologize for having an opinion.
Literally, as I’m typing this I’m thinking: I really hope whoever reads this thinks “I’m cool and likable!” I have to tell myself to calm the eff down and live my life.
Also: athleisure. Invest in nice, stretchy athletic pants to direct in.
W&H: Name your favorite woman-directed film and why.
BG: “You’ve Got Mail.” Nora Ephron was a genius, and that movie paved the way for all the best rom-coms. I’ve seen it at least 50 times.
W&H: Hollywood and the global film industry are in the midst of undergoing a major transformation. Many women — and some men — in the industry are speaking publicly about their experiences being assaulted and harassed. What are your thoughts on the #TimesUp movement and the push for equality in the film business?
BG: It’s about time. #MeToo #TimesUp
