Interview With Zoey Sidwell Director of TRAVEL PLANS

Travel Plans, a micro-short that had its premiere at this year’s LA Shorts, may be little but it packs a lot. It’s a crowning achievement in many ways because it manages to imbue so many emotions (many of which without speaking) and yet leave the audience pondering. It’s effective and worthy of a watch, or two!

Film Inquiry was able to speak with the wonderful director Zoey Sidwell about her venture into filmmaking, what she’s learned, anticipation for the future and much more!

This interview has been edited for clarity. 

Kristy Strouse for Film Inquiry. I watched the short a few times. I’d love to get into it—I have a lot of questions about the short—but I’d like to hear a little bit about your background. This is obviously your directorial debut, but you’re an actress as well. How did you get into directing?

Zoey Sidwell: Yeah, you are correct. I do have an acting background, and I still enjoy that and still do it, but my focus has shifted to writing and directing. As actors, you don’t have a lot of control over things, but as a writer and director, you have more opportunity to realize your vision. I got into directing because I completed a feature I wrote, and while writing it, I kind of saw the whole movie in my head, like a director would. But I had never actually directed anything except small scenes for my acting reel. So I had no idea if I’d be suited to directing or if I’d enjoy it. I decided to do a little experiment and direct a short. That’s where Travel Plans came from. I’m glad it did because it was life-changing. I had so much fun; it was joyous, and I definitely want to do it again.

So you have a feature that you wrote, and this was kind of dipping your toe in the water to see if directing is something you want to continue?

Zoey Sidwell: Exactly. It’s a three-minute short in a single location, so I think of it as training wheels. Not because it’s not glorious in itself, but I wanted to see if I liked directing. I didn’t know ahead of time, so I wanted to get a feel for it and learn about post-production, which was a bit of a mystery to me since actors typically don’t deal with that. Pre-production was also an eye-opening experience. Now that I know I like it, my next project is a longer short with multiple locations and extras. If that works out, then hopefully I’ll get funding for a feature.

That’s exciting. I’m glad you found something you’re passionate about. So with Travel Plans, what was it about it that made you say: this is the movie I wanna make?

Zoey Sidwell: When I decided to direct, I thought it would be a good idea to direct someone else’s work because it’s a different experience. I asked around if anyone had an unproduced short that they’d take a chance on me directing. I got a bunch of scripts and connected with the writer, who pitched a couple ideas. I gave her an impossible task: I wanted something in a single location, no special effects, limited production needs because I had a small budget. It had to boil down to a good story since there was no physical movement or visual spectacle. Krista delivered. She pitched me two options: one was Travel Plans and the other involved a child. I didn’t want my first directing to involve children, so I chose Travel Plans. It’s only three and a half pages, but so much happens in those pages. It had a twist, which I love—both as a director and audience member—and I didn’t see it coming.

I didn’t either. That was unexpected!

Zoey Sidwell: Exactly. We worked on the script to perfect it, and she was very easy and open to collaborate with. I got other great scripts, but this one stood out because it had everything I wanted and more.

So it was somewhat of a collaborative process. I thought she had sent you a finished script, but she actually pitched ideas and then it was written?

Zoey Sidwell: Yes, she had a couple of ideas but hadn’t written them fully yet. She pitched them, I liked them, and she developed the script quickly. It felt like this story had been in her head for a long time.

And that twist, I won’t spoil it, but there’s a lot implied that’s not said outright. What was it like directing something with a sensitive subject like that? How did you capture all that nuance? Was that challenging?

Zoey Sidwell: I’m glad you asked that. I like films that don’t spoon-feed the audience. If things are overly explained, I feel ahead of the story and that’s not enjoyable. When I had a rough cut, I showed it to a small group of trusted friends. About 40% didn’t get it, which made me nervous. But I realized there’s a difference between watching deliberately and watching casually, like on a phone while multitasking. I had to decide whether to clarify more or be okay with some people not fully getting it. I chose the latter because even without the full understanding, the story still stands on its own.

I was surprised some people didn’t catch it because there’s a line of dialogue that pretty much spells it out.

Zoey Sidwell: The first draft wasn’t as clear, so I asked Krista to make that line more explicit to help the audience. She was great and willing to make that change. But even so, some people still missed the second reveal, and that’s okay.

It’s interesting because when I watched it a second time, I noticed a change in the energy, like you can feel something shift once you know what’s going on.

Zoey Sidwell: That’s exactly what I hoped for. I want it to be the kind of film that makes people want to watch it again once they know the twist. Some of my favorite movies do that. The most classic example would be The Sixth Sense.

Yes, that’s what I thought of immediately. I mean, obviously very different tonally, but that kind of rewatch value is so satisfying.

Zoey Sidwell: Yes. With twists like that, it’s fun to notice the clues you missed the first time.

Yeah, and when you don’t know the twist, it’s a whole different experience. So how long do you think you’ll keep spoilers under wraps? When’s the expiration date?

Zoey Sidwell: [Laughs] Yeah, I guess it depends. I think once enough people have seen it, it’s okay.

The short is one location, in a car, a very enclosed space, yet it feels larger than it is. Have you considered expanding it into something longer, because there’s so much unsaid?

Zoey Sidwell: That would be up to the writer. I think some stories are perfect as they are. I mean, sure, if I had a bigger budget I could show the wedding or more scenes, but is that necessary? I don’t think so. I feel this story works well as a short. But it might be a question for Krista if she wants to develop it into something longer.

Right now, you’re working on another short?

Zoey Sidwell: Yes, I’m co-writing the next one with Krista because we had a great collaboration. I had an idea I was struggling with, so I asked her if she wanted to co-write it, and she was on board. This next short is longer, has multiple locations, and includes extras.

Are there children in it? [Laughs]

Zoey Sidwell: Yes, but it’s Krista’s daughter, so it’s controlled. I’m not a mother, so I was nervous about working with kids, but since it’s her daughter, I’m comfortable.

That definitely helps. Can you say anything about what it’s about or keep the mystery?

Zoey Sidwell: I’ll keep the mystery for now.

What was the hardest part about directing your first short?

Zoey Sidwell: The hardest part was keeping track of everything at once—continuity, actors’ performances, camera movement, lighting, sound, production design, and more. As director, producer, sometimes AD and script supervisor, you have many hats. Staying calm and communicating clearly under pressure was the biggest challenge, but also rewarding.

And the most surprising?

Zoey Sidwell: How much fun it was. I loved being involved in every part of the process and shaping the story. Also, how collaborative it is. People come together to make something special, which feels really good.

I think your story is especially inspiring. Any thoughts/advice for others considering taking that big step?

Zoey Sidwell: I mean, just do it! [Laughs] like Nike. I would recommend for actors and writers, just to go through the process from start to finish. They all inform each other. The writing is a blueprint, as they say, but if you learn how to direct, it changes your writing.

I found it invaluable, and I especially recommend learning about pre production and post production if you’re an actor, because again, there’s no other way to learn it, even if it’s on a micro scale, like I wound up spending several $1,000 but you could, you don’t have to do that. You know, there are plenty of stories of people with an iPhone who do just great. Thank you. Sean Baker, it’s just, it’s essential, I feel. And there’s these days, there’s no reason not to. So I would encourage anyone who thinks they might remotely be interested to just do it. Even if they learn that they don’t like it, even if they learn that this is not for them, I would because the way to learn.

Well said. Thank you again for speaking with us and congrats on your film!

We’d like to thank Zoey Sidwell for speaking with us.