Interview: Kris

Today we’re joined by Kris. Kris is a phenomenal filmmaker who specializes in short films. She has done both narrative films and documentaries. Currently working on a feature length script as well as a webseries, Kris is an enthusiastic and dedicated filmmaker who has an incredibly bright future ahead of her. My thanks to her for taking the time to participate in this interview.



Please, tell us about your art.

I am a filmmaker. These days that is mostly writing and directing, though when friends have projects on the go sometimes I’ll produce or be director of photography. While most of my films are fiction, I do the occasional documentary when the right story presents itself. To date I’ve done exclusively shorts. I do really enjoy the medium of short film, the challenge of getting an audience hooked, engaged, and happy with the resolution all in 10-15 minutes is very satisfying to me. Lately though I’ve been branching out. I’ve got a feature length script that I’m working on, and also a 9-episode web series that I recently started to write. I also do a bit of photography, but that is much more as a hobby to entertain myself.

What inspires you?

Life. The world. When I first started taking photographs as a teenager it was all about looking at the light, looking at the world and thinking, “wow” and wanting to capture it. When I became a storyteller, it was sort of that, but with people. I love being out in the world – at a coffee shop, at a museum, at a park – and just watching people, listening to how they talk to each other, seeing what kinds of things make them go “wow.” I love playing the what’s your story game. Seeing someone, especially when they do something unexpected, and thinking who are you, and what’s going on with you that made you do that. And because I make fiction I can just make up an answer.

What got you interested in your field?  Have you always wanted to be an artist?

I always wanted to be behind a camera. I can remember the first time I ever took a photograph. It was with my Dad’s big heavy SLR shooting slide film. I still have that slide in a box in my attic. There was always art going on in my family when I was a kid, but I can’t draw so it started out as a way to make a picture. But then it became a way to capture a bit of the world and share it with people. And then I went from photography to video in college because it seemed like a better way to make a living.

I have always been creative, but I don’t think it’s accurate to say I always wanted to be an artist. I loved having a camera in my hands, I loved making things. But for 20 years the things I was making professionally I didn’t consider artistic. I was making training videos and other corporate/industrial stuff. But after a while I thought, I want to tell my own stories. I started doing film as a hobby. Getting my friends together and goofing off in my back yard, or making silly videos of my dog. The more I did it the better I got until I thought, you know maybe I could do this creative stuff for real. Now I’m a professor and it’s part of my job description to keep making films. It is possibly the coolest thing ever.

Do you have any kind of special or unique signature, symbol, or feature you include in your work that you’d be willing to reveal?

I went through many years where my dog would get a role, or at least a cameo in most of my films. Usually one of the extras would be walking her. She died while I was in film school though, so in my thesis film there’s just a photo of her. My new dog isn’t trained well enough yet, so for the time being it’s likely to still be pictures of Blue hiding among the set dressing.

What advice would you give young aspiring artists?

Ira Glass has the best advice, which is to make a lot of work, especially if you feel like the work you’re making isn’t good enough. It will never get good enough without a boatload of practice. And that’s true no matter what kind of art you do. Also, it’s important to get out in the world and have a life. My students often ask me if they should go to film school and I always tell them not right away. Go and experience a bit of life first because that’s what’s going to give you your stories to tell.

Sarah and Esther working on the step afternoon
Sarah and Esther working on the step afternoon


Where on the spectrum do you identify?

I am asexual and aromantic.

Have you encountered any kind of ace prejudice or ignorance in your field?  If so, how do you handle it?

I haven’t. On set we’re busy working and it would be unprofessional to be discussing our sex lives. And it’s really easy to be invisible as an asexual, which is both good and bad. I am unlikely to get harassed on the street because you can’t tell by looking. I’m not holding hands with the wrong person or whatever. People will assume you are like them until proven otherwise (about all sorts of things) so if I don’t bring it up it doesn’t come up.

Lately I’ve been realizing that invisibility is also bad. That it has a lot to do with why I spent decades trying to be something I’m not. Why it wasn’t obvious to me that there was nothing wrong with me. So I’ve started kind of coming out at work, identifying myself as a queer filmmaker. Universities tend to be supportive of that kind of thing though so nobody has given me a hard time about it. Maybe it would be better to battle the ignorance if I identified as an asexual filmmaker, but a) I don’t really have the energy to have to define it every time I say it, b) it’s not actually my colleagues’ business what flavor of not-straight I am, and c) I would really like to broaden the definition of queer film and queer filmmakers. We shouldn’t have to only tell coming out stories or dying of AIDS stories. I should be allowed to tell whatever stories I want and still be free to be myself.

What’s the most common misconception about asexuality that you’ve encountered?

The common problem is that it’s not a word your average straight person knows. We come so far down on the alphabet soup of the acronym that people give up trying to figure out what all the letters mean before they get to us. So if I use the word then I’ve got to explain it and then you get that little head tilt of “huh, I didn’t know that was a thing.” And if I don’t actively explain it then the misconception is she’s just single and eventually Mr. Right will come along and solve that problem. Or, among my sister and the rest of the lesbians in my home town, then Ms. Right will come along. But nobody ever thinks she’s single and that’s how she’s happy being.

What advice would you give to any asexual individuals out there who might be struggling with their orientation?

There is Nothing Wrong with you. Many people won’t get it, but they don’t have to. You just be you and they can figure themselves out. For me the best part of being asexual is that nobody else really has to get it. The only people who need to understand the details of my sex life are the people involved in it, which, by definition, is nobody. All the well-meaning but annoying people who insist that there is someone out there for you, you can feel free to ignore them. Unless you actually want that, some asexuals do and that’s fine, you be you. But be unapologetically you. You don’t owe anything to anyone else.

Finally, where can people find out more about your work?

If you’re interested in my work my company website ( ) is the best place for that. New work has images and trailers, when things are on the festival circuit I keep that up to date on screening locations and times, and when they finish the festival run I put them up entirely.


Thank you, Kris, for participating in this interview and this project. It’s very much appreciated.

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