Filmmaker Lorraine Sovern Goes Forward Fast

Fred: This is Fred Richani. We have right here on the line of very special guest. They are an incredibly talented filmmaker, the person behind Forward Fast premiering at a film festival near you. We are talking to Lorraine Sovern. You just saw a preview clip of their upcoming film. Lorraine, thank you so much for your time. How’s everything going?

Lorraine Sovern: Really well. Thank you for having me.

Fred: We chatted off the air. You’re a big Sopranos fan. You’re in the film industry making that movie magic. Hopefully you don’t have to crack a few skulls in order to rack up those accolades. But, we just checked out a preview of Forward Fast, which is premiering throughout Florida through various film festivals. Can you tell us a little bit about it?

Lorraine Sovern: Yeah, so this is a film that kind of came as a surprise to me. I genuinely was just kind of looking to preserve this footage that I recorded as a child. Because I really did come from, you know, the generation of the kids in the ’90s where it was like, “You can be whatever you want to be.” And I’m like, “Oh, if that’s the case, I’m going to make movies.” And so I saved up my allowance and I bought this camera and it’s the same camera that you see in the film that the footage is playing through. It’s the same camera that all the footage was recorded on. And so, you know, going through this footage to preserve it, I had kind of a wake-up call and really was kind of astonished by what I was seeing and really thought like, “Whoa, I think I need to make something about this.”

And it really was born from just my experience taking in this footage and seeing what my childhood self believed was the language of cinema.

Fred: Heartbreaking, inspiring, you know, that you were able to kind of overcome everything that young young young child went through. But, man, it must have been a process. So, I mean, how was it as far as kind of like do you I don’t know if trauma’s the right word, but kind of dealing with all that, you know, going back in time, not only looking at these memories, which are great and you know, some of those videos are very adorable, but at the same time understanding like, “Wow, I wish I could go back in time and tell the my younger self like, don’t worry. It’s not that deep.”

Lorraine Sovern: Yeah, absolutely. I mean, I’ve I do feel like trauma is the right word and it’s actually this film is part of my thesis body of work. I’m pursuing my master’s my MFA at UCF, the University of Central Florida in Orlando, and my thesis is actually about using film as a vehicle for healing from trauma and creating mass catharsis. You know, the ability to connect and feel like you’re belonging through film is really transcendent and powerful in a way that I think a lot of other art can capture, but I think film really kind of reaches a pinnacle of that. And so, yeah, trauma is definitely like something that has a through line in a lot of the work that I do because film has been a great process for me in that experience.

And like, I’ll be honest, like it was a difficult film to make. But I feel like my hope is that somebody will be able to see it and feel a sense of connection and belonging and I think that makes it worth it.

Fred: Terms of, you know, putting this film together and everything, obviously you have great support from your school and the people around you and everything, but were there any challenges with this film and some of your past work just with really the shift that this industry has gone through?

Lorraine Sovern: That’s something I have an interesting experience with because I took some time off between undergrad and grad school to really kind of like infiltrate film festivals from the inside out. So, I’ve been programming for I think four or more years at this point. So, yeah, like I’ve been an associate programmer for Florida Film Festival. I’ve programmed for Brouhaha Film & Video Showcase. I’ve been a juror for Bizarro Land Film Festival. So, I’ve actually really kind of like put myself in a position to really see what the climate was. And, you know, it’s been a few thousands of hours of my life, but it was a really amazing opportunity to get to see the films that not only are getting programmed, but people are making and submitting.

And definitely, helped empower me to feel more willing to get my work out there. And I am especially proud of a certain program that I’m involved with called the Central Florida Film Slam that we host at Enzian Theater, where I also work. And so that’s like a local film showcase that’s like a baby film festival. It’s like anyone can submit if you’re a filmmaker in Central Florida, and it’s free, and it’s based on audience votes. And so, it’s really putting the power in the filmmakers’ hands. And so, if you bring a bunch of your friends, and they vote for you, and you win this showcase, you can get funneled into selections for Brouhaha Film & Video Showcase and Florida Film Festival.

And so, I’ve kind of, you know, gotten really passionate about creating accessibility for people who aren’t established in the industry. And I’ve watched so many people, talented filmmakers, come from, you know, just a self-made background and really put out amazing work. And so, it definitely empowered me when my time came to be like, “All right, like shoot for the stars.” Like, so, not only has it been amazing, of course, to like be programmed at festivals where, you know, I know the people involved, I’ve also been, you know, successful being programmed in festivals where I know nobody involved. Like, Experiments in Cinema in Albuquerque and Cinema Femme Short Film Fest in Chicago, where I’m going to be playing on May 3rd.

So there’s, you know, been an amazing balance of places where I’ve been paying my dues and then places where I just let the work speak for itself. And I mean, hopefully in all contexts, the work will speak for itself.

Fred: Was there anything pro- in programming film festivals that jumped out at you that said, “Wow, like it just kind of gave you perspective or made you a better filmmaker?”

Lorraine Sovern: Yeah, I mean, I think I’ve learned this both in programming festivals and my experience, in school is just seeing so many amazing films in different kind of modalities, like the experimental documentary personal essay realm of voices that you don’t normally see in the mainstream. And I feel like that’s why I especially found my home there was realizing like, “Oh, there are like really active people trying to challenge the status quo with amazing power behind their voices and they’re doing things differently and they may be on the outskirts, but in order to create something different, like you really kind of just have to start your own thing and rebuild. And I think it’s amazingly powerful and I’m super proud to become a part of any of those communities because I’ve been incredibly inspired by the super unique and creative work that I’ve seen in experimental showcases, and just the new wave of kind of the way that filmmakers are approaching art.

For folks watching and listening, you want to get inspired, go to a film festival. You’ll you’ll see so many different voices and perspectives.

Fred: It’s very well said and everything. And it’s funny because you watch like the mainstream awards and everything and no disrespect to anybody who wins, but a lot of times it feels like they’re still kind of behind the times. They’re, right, 5-10 years behind the times. Whereas I feel like at least from what I’ve seen with festivals in this area, it’s a lot more progressive. Like you see, as you mentioned, you see a lot more voices that you don’t see in the mainstream. So, do you feel that way that the festival circuit is kind of going in the right direction? And even if some other aspects of the industry are still lagging behind that the festival circuits pushing things forward?

Lorraine Sovern: I do think so, yeah. I think especially just kind of the nature of programming, it has so many different people involved. And so, the more that we expand that, then in turn we’re going to expand who we’re programming. And it’s been, you know, really refreshing to see an expansion of all different types of people included in programming and being programmed. So, I would say it’s definitely moving in a better direction.

Fred: Any other projects you’re working on or have worked on that you’re allowed to talk about that we could check out or maybe checking out soon?

Lorraine Sovern: Yeah, absolutely. So, I’m working on a film right now that I actually, like when you were talking about using like analog and older techniques, I shot some of it on 16 which was really exciting. So, I’m working on another personal essay film. This one’s a little bit more in the like vein of film poem. And so, this is called Always, Never, Together, Forever, and it’s about friendship breakups. So, I’m really excited to share that. So, that should be coming soon within the next 6 months or so. And then I also have a bigger project that I’m working on, another archival project using home video from my entire first 10 years of life. And that’s called The Hanged Priestess, and so that’ll be out in the next year.

Fred: Amazing stuff. Before we let you go, we always like to ask our guests some kind of random and rapid-fire questions just to get to know them better. Are you ready, Lorraine?

Lorraine Sovern: Yes.

Fred: This is an easy one. I’ll throw you a softball first. All-time favorite TV show.

Lorraine Sovern: Oh, well, yeah, I’m going to say The Sopranos. That, but also Six Feet Under. Shout-out to Six Feet Under, cuz it’s super underrated, and I love it.

Fred: Excellent. Favorite Sopranos character.

Lorraine Sovern: Oh, Christopher Moltisanti. All right. My namesake.

Fred: Most awkward moment as a filmmaker. Anything wacky or wild that’s happened to you in the process of filmmaking that maybe seemed crazy back then and makes for a good story now?

Lorraine Sovern: Oh my gosh. I don’t know. I feel like I have so many happy accidents. They all feel like good awkward moments. I think just like when you do that thing where you start to edit and realize that you like accidentally created a weird synchronistic moment and you’re like, “Whoa.” Like I feel like those are moments where you just kind of like have to question reality, but you just accept it.

Fred: What’s your favorite spot at the University of Central Florida? If I was just taking a tour to campus, I mean besides you know the movie section obviously and everything else, is there like a local spot or anything, a food truck, a place in the area you’d take me?

Lorraine Sovern: I don’t know about like, you know, UCF the main campus and stuff. I definitely do spend 99% of my time in those editing bays and the screening rooms and all that. I would say if you’re in Orlando, you would definitely want to check out Enzian Theater. That’s the local arthouse cinema where I said that I work and where the host of Florida Film Festival. That’s like my happy place. I know I’ve been working there for almost a decade, but it’s such a gem and it truly has like these like amazing oak trees and these beautiful twinkly lights when you’re there at night. Like it can really be an oasis outside of just like an amazing hub for the film scene here.

So that’s definitely like a place I would shout out if you’re going to be in Orlando.

Fred: Are there any filmmakers growing up who inspired you to get into film?

Lorraine Sovern: I dressed as Steven Spielberg in my fifth grade school play. We did a rendition of Oprah where we all dressed up as our idols and who we wanted to be when we grew up. So I feel like he holds a special place in my heart and especially seeing Fabelmans where I was like, “Oh, he’s just like me.” It was really affirming to see another filmmaker who started making films when they were really young and just kept with it. So him and also like a more modern influence for me is the filmmaker Anna Biller who made The Love Witch. She is so amazing. Like talk about artisanal, she did almost everything herself. Like she painted those paint like it she is stunning.

So like check out her work. She is an astounding talent.

Fred: You’re still working your way up as a filmmaker, but up to this point for anybody watching or listening to this, what’s the best piece of advice you can give them for success?

Lorraine Sovern: Don’t hold back. You know, I think the thing is that we don’t realize that specificity actually breeds universality. So the more that you can put of yourself into something, it’s actually going to be more relatable. And so I’m a huge proponent of vulnerability obviously in my work and as a person. So I’d say, you know, you actually have less to lose letting it all out there than you do holding yourself under a sort of control.

Fred: For anybody that isn’t already convinced at this point, why should people watch Forward Fast?

Lorraine Sovern: It’s a film for anyone who understands what it’s like to have rushed through your childhood. And I think nostalgia, you know, is really it’s become a powerful thing. Especially for our generation and I think hopefully this adds a different context that will hopefully spark some introspection. It’s also for anyone that, you know, wants to change the world.

Fred: Love that. I really enjoyed the short film. I hope everybody checks out at a film festival near you. Before we let you go, Lorraine, thank you so much for your time. Where can we find you online and where can we find you next?

Lorraine Sovern: Yeah, so you can follow me on Instagram. As I mentioned my namesake before, my handle is a Tennessee Moltisanti. It’s a reference to a Sopranos episode called The Legend of Tennessee Moltisanti. So if you’re having trouble spelling it, you can just look that up. But yeah, otherwise, just look out for me. I’m going to be playing in some film festivals across the US, so, if you follow me there, you’ll definitely find out about those dates.