[RE]DEFINED: A Complex Story In Simple Terms (& Interview With Writer/Director, Danae Grandison)

In Danae Grandison’s breakout debut, [Re]Defined, we are given just enough without spilling over the edge. The short, about ten minutes in length, dives into the nitty gritty of adolescent life, leaving few doors unopened.

[Re]Defined more or less opens in the middle, but instead of leaving us to piece the plot together, writer/filmmaker Danae Grandison keeps it simple, letting on enough information while the characters carry the rest.

At his job as a busboy, Jae confides in his boss, who is also his uncle: he stresses about getting into the right high school, getting along with his mom, and managing potential crushes. I like the blunt relaying of information here; even though I am not sure how many thirteen year olds would feel comfortable spilling their guts to an adult, Grandison makes it clear from the beginning Jae is a bit of a bumbling fool. (A sweet fool, of course.)

Grandison, who began her career after taking a six-week summer course entitled Intro To Filmmaking On 16mm Bolex at the School Of Visual Arts in Manhattan, has recently completed the Graduate Film Program at SVA. Her thesis film, [Re]Defined, premiered at Urban World Film Festival.

After watching the film, I reached out to Ms. Grandison, who graciously agreed to discuss [Re]Defined over email.

Sophia Cowley for Film Inquiry: Congratulations on making a wonderful film! How does it feel to have wrapped?

Danae Grandison: Thank you! It’s been a year now since I wrapped and the emotion I feel is as if I am ready to direct my next film, which I am actually in pre-production with for my new script. It was one hell of journey to get through this one, but I can definitely say I am excited to keep going.

How has [Re]Defined been received by audiences now that it is in the festival circuit? 

Danae Grandison: The audience response has been good and positive and encouraging. If I can summarize it I have been told: “I really like how it has so many layers; it is relatable no matter what age; well timed; it is relevant and [you should] keep on going.”

Who or what inspired [Re]Defined? Is this a personal story?

Danae Grandison: I found inspiration for [Re]Defined first from wanting to tell a story I could work on with my son in it. He was in the 8th grade at the time, to show how close the story was to me. As a mother, I felt compelled to acknowledge the journey of friendship and some of the conflicts a young person encounters with the underlining theme of acceptance. Acceptance and self-love are topics I gravitate towards. So while it’s not a personal story per se, I was able to pull qualities I liked in my son for developing that lead character, as well as things happening in his life around me at the time that also influenced the story.

Spotlight On Sound

When I watched [Re]Defined for the first time, I noticed right away its crisp quality of sound. The audio on [Re]Defined is well engineered; you can tell that a lot of effort went into maintaining the sound quality. Muffled street sounds follow into the restaurant, one of the film’s central locations.

In addition to the ambient audio, I was also pleasantly surprised by the director’s music choices. From the opening scene, acoustic guitar sets the tone for a playful, heartfelt adventure. I asked Ms. Grandison to elaborate on her musical process.

Film Inquiry: The music really carries this film. Who is the artist behind the soundtrack? What was the process of recording like in relation to writing the film? Did you know what music you wanted before you sat down to write?

Danae Grandison: I am so happy to hear your response to the music, thank you! I approached three artists I knew and my producer brought in her colleague. So I have more than one artist contribution. The artists were: Adjah John (who was also the lead), Cezar Cunningham, Rob Morrison and Tony Lepore. From the beginning, I knew I wanted an acoustic guitar to match the age and mood; this I knew from the time I was writing the script, almost as if I could hear the guitar.

I first heard a song my son, Adjah, wrote (with his guitar teacher) while I was writing the script and knew I had to use it—it helped set the tone. I also wanted to stamp more of me in it, which meant my Jamaican roots. So I approached Cezar, a Jamaican artist, and I asked him to create a song for me. And I did my best to keep that tempo in other places with the other acoustic sounds by Rob and Tony.

Cinematography

Like any proper film shot in NYC, [Re]Defined features ample shots of sidewalks and streets. The ground is trampled on by running feet, sauntered on by angsty tweens and is accompanied by the romantic stillness of a couple in love. In one shot in particular, the camera locks in on Jae’s and Elisa’s feet, training its eye on the subtle sweetness of young kids and concrete.

Film Inquiry: The cinematography of your film is beautiful. How did you wind up collaborating with director of photography, Edward Herrara? Can you talk a bit about your process of bringing the story—along with its pertinent, yet gentle mood—to life?

Danae Grandison: I will have to share this compliment with Ed, thank you! Interestingly enough, I saw Ed’s work in another film done by a past student from this master’s program, and really admired his style. But it was actually my producer that introduced me to him. She set up a phone call for us and the conversation was awesome, it just jumped off from there.

It was great to chat with a fellow creative that gets just as excited as you do about a project and really brings a collaborative spirit to the table.

Ideas were just bouncing when I spoke with Ed, it felt right as if you were onboard with a willing passenger to go there with you. The full process I must admit I don’t recall all the steps that got me there, but I created my mood boards and I knew my Brooklyn Kids very well, the ones I wanted to represent. They surrounded me because it was my son and his peers.

I knew in my soul I wanted a particular NY sensibility to just match those Brooklyn kids.

The gentleness was a choice I made because my young target audience. I also felt inspired by some of Bradford Young’s work with Pariah but it didn’t lead the direction, it stemmed mainly from my environment and Brooklyn life.

Fast Paced

Much like adolescence itself, [Re]Defined moves quickly, pausing only to relish in certain moody moments.

The camera moves briskly through a fight scene upon the film’s opening, but remains static during a romantic montage, following Jae and Elisa on their first date.

In one of the final scenes, Jess lets on that she has been prescribed “blockers” to block female hormones, aiding in her transition from female to male. Jae tells Jess that things are getting “a little too weird” for him and he walks out.

While this interaction could have risen to a greater conflict, perhaps in a longer film, the director keeps conflict to a minimum here. Mere moments after jettisoning out Jess’s apartment, Jae returns to make amends. Their relationship resolves in a down-to-earth kind of way, and it is important to remember that the two are only kids, after all. Sometimes they speak to quickly, without pausing to assess whether or not they believe their own words. They also know how to forgive.

“So, are you official?”

Themes of jealousy and confusion run through [Re]Defined, as its main characters come to terms with their respective desires. We get into the minds of the kids; the story is as narrow as their life view, both of which center directly on their own troubles. This is probably one of the most authentic aspects of [Re]Defined, how the characters’ inner conflicts become the forefront of their daily lives.

Of course, the experience of a transboy is not a narrow one, but rather, it is an expansive, inclusive issue. Grandison does an excellent job of crafting a personal story while dealing with universal subjects.

One of the main plot points of the film is Jess’s transition. While Jae begins to realize his own romantic interests, caught up in the drama of a young teenage dream, Jess deals with a very real, emotionally intense experience of her own.

Within a short span of time, we catch a glimpse into the implications of Jess coming out as trans. She experiences conflict with her mother, is taunted by her peers, and fights with her best friend. Not to mention the dysmorphia she experiences as a boy in a girl’s body. And all this happens in a matter of ten minutes.

Casting A Net

Danae Grandison performed the brave act of casting her son as one of the leads, which was no easy feat. “Casting was interesting,” Grandison wrote over email. She reached out to performing arts schools in NY, as well as Breakdown Express and Backstage, and “cast her net” out to her son’s theater groups.

As for what it was like to direct her son, Grandison wrote:

“That was a hard journey for us both. A lot of pressure was there for just casting him and making sure I could prove he was the right one. We had to cross the hurdle of trust, he had to trust me as a director and not see me as his mom. And I had to trust he would ‘show up’ and work with me seamlessly on set. And I must say it was a relief to see that on Day One of the shoot he did ‘show up.'”

[Re]Defined was showcased at the SAG-AFTRA Foundation Short Film Showcase in LA on March 29, 2017.

Does [Re]Defined sound like a film you would be interested in? For more information and to watch the short’s official trailer, visit www.redefinedshortfilm.com.