Valerie Brandy is filmmaker, screenwriter, actress, and author based in Los Angeles. Her award-winning feature film, Lola’s Last Letter— which she wrote, directed, and starred in— was distributed by Sony’s indie label after a successful festival run, and has become a beloved installment in the mumblecore movement. She recently served as a staff writer for Walt Disney Studios live action feature division, developing multiple projects for their Disney + platform. She’s written comedies and dramas for many studios and networks, and her writing has been honored by the Nicholas Fellowships in Screenwriting. As an actress, she appeared as “Trixie” in multiple episodes of FX’s Emmy-Winning drama Justified. For her work in the independent film space, Brandy was nominated for a Best Principal Actress award from LA Film Review.
FWM: In reviewing Brandy’s work as a filmmaker, the Huffington Post stated, “… the key word when describing Brandy in unflinching.” What moves you as a filmmaker and screenwriter?
My main goal as a storyteller is to create narratives that give people hope. Movies show us the best and worst of ourselves and allow us to imagine what the future could look like based on the choices we make, and who we decide to be. I see movies as a chance to create empathy between people with different life experiences– through movies, we can live a thousand different lives and see the world through the eyes of someone we otherwise wouldn’t be able to relate to with ease. The capacity to create empathy makes movies powerful, to me. I try to focus on that as I write a new idea. I ask myself, “What is the story teaching the audience? What’s the takeaway message?” Because– whether an artist is aware of it or not– people will always leave a movie with some kind of takeaway “lesson” or message. Being aware of what our art is saying means we can make it a good one.
FWM: Tell us about your award-winning feature film, Lola’s Last Letter in which you wrote, directed, and starred in.
“Lola’s Last Letter” follows a girl named Lola as she makes a video diary for a mysterious man named Henry. She uses the videos to apologize to him, but we don’t know what’s she done until the end of the film. While making this video apology, she also starts a new relationship, and begins to fall in love. It’s a chance to empathize with someone seeking atonement. My intention was that the audience gets to know Lola the way we often get to know people in real life– beginning with the charming, exterior qualities, without much background on her. So often we fall in love or friendship with who someone is today, without knowing their history, or past missteps– the stories that turned them into that person. In that way, getting to know someone new is always kind of a leap of faith. The film is an analysis of trying to move on from who you were, to who you are, and what it takes to start again after you’ve made a terrible mistake. I was influenced by the Cinéma Vérité style when thinking about how to shoot the film, and tried to lean into natural performances that feel very real; banal moments of daily life, and a fly-on-the-wall point of view of private moments were incorporated into creating the aesthetic. It feels like a movie Lola really could have made herself, which breaks down the wall between the audience and the main character.
FWM: What does it take to have success in Hollywood today?
Belief that what you have to say is important. Love of the art (whatever part of the industry you’re in, from filmmakers, to writers, to composers, and animators). Commitment to make work no matter what– because you love it, not because you want someone you believe has decision-making power to approve of it. Finally, and most importantly, a belief that God has a plan for you and the universe is conspiring to put you right where you should be– and a willingness to follow that journey, even when it doesn’t make sense. A simpler way to say all of that might just be, “Faith, love, and commitment.”
FWM: As an author, your feminist thriller trilogy “Animals We Are” has sold over 10,000 copies worldwide and was chosen as an IndiesToday five star read. What inspired you to write your book? Why is it grabbing a hold of readers worldwide?
Animals We Are follows Zoe, a woman who goes on a camping trip with her boyfriend. When her boyfriend is kidnapped by a stalker in the woods, she has to play a twisted scavenger hunt to get him back. I wanted to write a story that shows how women can be the “hero” of a relationship, too. So often in relationships we show up for the other person in a way that means we are being their hero that day– whether it’s just listening, supporting, overlooking a flaw, etc. Zoe is a hero of her relationship in the sense that– although up until this point she’s been more emotionally aloof– she’s willing to face danger and survive alone in the wilderness to rescue the person she loves. Mike, too, brings heroic actions to the relationship, in that he’s always open-hearted with Zoe, countering her aloofness with the bravery of vulnerability. The books are a three-part series, and the feedback I’ve gotten from readers is that they really love being able to stay with these characters in different travel-adventure environments. The first book takes place in Yosemite, the second on an island paradise, and the third spans all across Europe, and in all three, Zoe and Mike are up against a dangerous adversary. I think the books have done well because people enjoy sticking with our characters on grand adventures filled with puzzles and even (at one point) a treasure hunt.
FWM: Recently, you are working on multiple projects with Disney. Tell us about your projects.
I love working for Disney and enjoy writing stories with elements like magic and fantasy. My favorite thing about the family space is it challenges you to present deep themes of love, friendship, and connection in a way that’s accessible to viewers of all ages. I also enjoy world-building, wish fulfillment, and getting to create a magical space where different rules of reality may apply, but the themes of human connection are the same. Writing for Disney has meant working with some of the most talented and accomplished studio executives and producers I could possibly ask for. They not only have a great knowledge of story craft, they’re also respectful of artists and love what they do. I’m just really honored and grateful that I’ve been able to learn from them.
FWM: What is next for you?
I’m gearing up on pre-production to shoot and direct my second film! This one is entirely different in scope from my first, taking everything I’ve learned in the past few years and putting it into action. I can’t wait to share. 🙂
Thank you again for having me! 🙂
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