Kestrin Pantera is an actress, writer, and director. She made her feature debut with 2014’s “Let’s Ruin It with Babies,” and has since directed TV series such as “Bad Parent Theater,” “Knocked Up Thoughts,” and “Lives of Women.”
“Mother’s Little Helpers” will premiere at the 2019 SXSW Film Festival on March 9.
W&H: Describe the film for us in your own words.
KP: “Mother’s Little Helpers” is a funny drama about a dysfunctional family. It’s based on true events and explores how family ties can twist and tear you — and though they may not break you, they might send you to jail.
The film is inspired by true lies.
W&H: What drew you to this story?
KP: After a series of unorthodox losses in my life, this story had been knocking around in my head for awhile. I started talking about it with friends, and the more we discussed it, we had that bittersweet and beautiful mustard-seedy sense of connection that shared grief brings, plus many hilarious moments that are so often a light in the darkness.
This movie is inspired by the life and death of someone who had a wristband to SXSW year one, so world premiering in Austin is a dream come true.
W&H: What do you want people to think about when they are leaving the theater?
KP: Most people will never experience being a James Bond-type double agent, but most of us will experience the death of flawed parent — I mean, honestly, that’s pretty much the best-case scenario. It’s a universal story, with universal truths, peppered with a few insane lies.
I hope that people who watch it and are facing the same thing feel less alone, and if they haven’t faced it yet, that they laugh and feel better prepared for the shitshow.
We are all in this together and it will be OK — eventually.
W&H: What was the biggest challenge in making the film?
KP: Starting. I sat on the story for a long time, but once we pulled the trigger, it was off to the races and I am still holding on tight.
W&H: How did you get your film funded? Share some insights into how you got the film made.
KP: We started with a lot of favors and hope, and ultimately once we leapt, the net and financing appeared in the form of private equity, goodwill, and talent.
W&H: What inspired you to become a filmmaker?
KP: When I was a kid I saw Clint Eastwood in “Unforgiven,” and always wanted to be a young girl Clint Eastwood. Then I saw “Garden State” and wanted to be a girl Zach Braff. That was always my framework. I’d like to continue making movies and shows and also stretch into supporting other filmmakers into finding and sharing their voices.
W&H: What’s the best and worst advice you’ve received?
KP: Best advice: “Learn how to edit.”
Worst advice: “Invest in Bitcoin.” I didn’t!
W&H: What advice do you have for other female directors?
KP: Hire moms and support the fuck out of each other. I mention moms because they are prone to a certain skill set, but you should hire people, regardless of gender, who focus on anticipating needs in any situation, having a loving communication style while respecting boundaries, who are effective, and who can deliver. Make that the basis of all your hiring decisions.
I find moms are more likely to have that skill set, but lots of other folks have it too. Just make that the priority when hiring. I’ve found a more diverse workforce to be the result of that strategy: all department heads on “Mother’s Little Helpers” were women or women of color, and I think it speaks to the skill set we actively sought.
W&H: Name your favorite woman-directed film and why.
KP: It’s funny because I hear Amy Heckerling actually doesn’t love the film, but one of my favorite movies is “National Lampoon’s European Vacation.” Chevy Chase getting stuck in a roundabout still makes me squeal. “Hey, kids! Big Ben! Parliament!”
W&H: It’s been a little over a year since the reckoning in Hollywood and the global film industry began. What differences have you noticed since the #MeToo and #TimesUp movements launched?
KP: There has been a beautiful increase in empathy in the workplace, partnered with a healthy boost of boundaries. I love it.
