***This interview was originally conducted in January 2017***

You’ve probably never heard of Gianna Isabella. She was born in Galway, Ireland in 1986 and immigrated to Lethbridge Canada at age five. After graduating from the local university in 2010, she began a career in filmmaking; having directed 15 short films and worked as a production assistant on high profile features like Interstellar and The Revenant. Like many directors, she has started small but is gradually working her way up. Her first feature “The Bourbon Room,” which she is writing and directing, is actually in development right now.

I first met Gianna on Twitter, thanks in part to an opinion piece I wrote being shared by director and activist Lexi Alexander. We kept in touch and our shared love of film has since led to some memorable conversations. She is a spirited person who both knows and loves what she’s doing. And while I have not yet met her in person, I still consider her a good friend.

Gianna recently took time from her busy schedule to grant me an interview.

What made you want to be a filmmaker?

Probably my whole life but I didn’t really know it was possible until I was in university. My mom used to take us to the movie theater when we were kids and we didn’t really have a lot of money, so it was a really nice surprise whenever she’d take us. I really enjoyed it there. And my dad would watch movies on the TV with us, such as 80s action movies. So I grew really fond of watching films. My dad ended up letting me watch gangster movies because I really liked them. I watched The Godfather and Goodfellas, and eventually I saw Taxi Driver. I was probably way too young to watch that film but I really liked it. It’s the sort of film that intrigued me, I guess. When I attended university, the dean took me around fine arts and I saw a bunch of students making films. He said I should switch my major, and I did. That’s when I started making movies.

Can you describe your process of making a movie?

I write my own scripts, and I’m usually really hard on myself when doing so. You need the script to be pretty good before you shoot. I usually send it off to as many people as I can think of (both people who know me and don’t know me) to see what they think and whether they can give me notes. I also send it to a script consultant, and then I rework it and rework it and rework it again until it’s in shooting condition. Then I usually write notes all over the script. One side has technical points, such as where everything goes, and then on the other side it’s more emotional notes: feelings or just character’s thoughts. Basically, what I want out of that scene.

Whenever you start a new film, how do you prepare yourself for work?

I guess that depends on the film but I usually like to watch other films; maybe something with similar mood or tone. I might also read a book that’s similar in tone, mood, or story. Then I like to grab elements from different areas and just sort of figure out each department, like what are the costumes going to look like or what the hair and makeup is going to look like. Mainly production design elements. And it can even all come from just walking around town and not necessarily just by watching other things. I look for inspiration in everything.

What would you say are the best parts of the job?

The collaboration is the best part for me. I like working with the actors and production designers, just collaborating with them and hearing their thoughts and perceptions of the script, which could very well be similar or different. Just enjoying that and pulling the entire vision together. I like every aspect of it. I like writing, directing, on set production. I love the edit as well. I love seeing it all come together.

And what would you say are the worst parts?

We work in high stress environments. And because I’m from the indie world, there’s never enough money or time. I hope one day there’s enough money and enough time.

You’ve directed 15 short films so far. Which one was your favorite to work on and why?

Probably my most recent one, “The Man From the Diner.” It was the first time I actually got to shoot on film. We shot Super 16, thanks to Kodak and Panavision. Shooting on film is obviously a much different experience and the crew were wonderful people. I also really enjoyed working with the cast; my lead especially, Mark Crisco. We spent a lot of time together in the three weeks leading up to production and really bringing his character to life. He brought so much to it. It was super awesome. We had a great time on set together too.

It must be harder to raise money for a short film than a feature. How do you finance your films?

Yeah, it’s really hard. I recently got a grant from a network up in Canada for a different short. For this one, I put it on my credit card. I may also need to run an Indiegogo campaign to help out with it. To fund a short, it’s basically either coming out of pocket, working and saving up to pay for it, crowdfunding, or getting a grant. You don’t really make money off short films, so it’s pretty much impossible to get an investor unless it’s a proof of concept for a feature film.

Have you ever submitted a short for the Academy Awards?

No. You have to get into one of the top tier festivals. They’re the ones who choose you based on whether or not you win in the short category, and that’s how they find their films for the Oscars.

I haven’t seen all your films but I just want to say that I particularly enjoyed “Tom Gaffney is a Gangster,” “Balance,” and “Actress Denied.” They’re really good.

Thank you. We just got a distribution offer for “Balance” actually.

Which filmmakers have had the most influence on your work?

Martin Scorsese is definitely number one. I don’t know if it’s that I come from a similar culture, being Italian, Canadian, or Irish, or just understanding the family aspects and the loyalty that feature heavily in his work. But there’s not a Scorsese film I don’t love. Sofia Coppola is definitely one of my number ones as well. I just love everything she’s done. Even her short work. The color she brings to movies is incredible and her characters are so interesting, often heartbreaking. Probably Paul Thomas Anderson too. He’s a big influence for sure. I also love Ava DuVernay. Her recent documentary was amazing. And John Cassavetes. I really like his indie style. Maybe I just really like American filmmakers. I guess there’s probably hundreds of influences but those are the ones that come to mind right now.

You’ve mentioned you’re a lapsed Catholic but still believe in God. Does that belief play a role in your creative process?

Yeah, I would think so. Part of that family thing again, which has always featured heavily in Scorsese’s films. Growing up with that being part of family tradition, I think it’s impossible to say that it wouldn’t influence things. There would be a certain amount of guilt imbued in the project, along with aspects of forgiveness and love. That all comes from what I was taught growing up, and Catholicism played a really big role in it.

You worked on Interstellar and The Revenant as production assistants. What was that like?

First of all, I come from a small town in Alberta. The fact Christopher Nolan came to Alberta and was close to my small town, that was crazy. I never thought I would ever get to work for him. Working on Interstellar was very exciting. They nicknamed me Smiley because I had a permanent grin on my face. The crew was great to work with. I let myself be open to learning from the actors, director, and crew, since I’d never worked on a big budget movie before. And I did learn a lot. I was also up for working extremely long hours.

The Revenant was a whole other feast. It was impossible not to learn working on that one. We went though so much, working in remote locations in severe weather conditions. It was extremely taxing, physically and mentally. I spent almost ten months on it. But I can’t say I regret it. It was the experience of a lifetime. I found myself on that film. And regardless of any negativity, I believe it pushed me further as an artist and made me want to be a filmmaker even more.

What are your thoughts on how movies are made today as opposed to ten or more years ago?

When you’re looking at movies coming out in theaters, I wonder if maybe the writing aspect isn’t as finesse as it used to be. The position of the screenwriter has been lessened, which is unfortunate. They are very important. Having the story fully fleshed out makes a massive difference and I’m hoping we start to realize that. When you look at bigger films like Batman v Superman, I wonder if they go into production before they’re ready. Without the script, there’s no structure and it doesn’t matter what you’re making. Without a great script, it’s not going to be good. Even if people do buy tickets, they’re going to be angry after. So you might as well invest a small amount into making sure it’s good.

You also don’t have as many films you would consider Oscar worthy. Ten years ago, there was always a film where you said “I can’t believe that didn’t make it into the Oscars.” I just don’t know if that’s the case anymore. There just isn’t as much high quality product because it’s risky to make, I’m assuming. We’re relying heavily on an existing market. When you look at Marvel, those things already exist so you know they’re going to sell. Also, a sequel to something that succeeded will be made over something original. There’s less original content today than ten years ago. That’s what I think anyway.

What are five of your favorite movies?

Taxi Driver, Lost in Translation, Shampoo, Drive, and The Dreamers.

If you could direct any movie, what would it be?

I really want to direct “Just Kids,” by Patti Smith. It’s one of my favorite books, and I love her a lot. I feel like I was really able to relate to the two main characters; that longing to make art and the desire for love. They both met in New York City, and I’ve always wanted to move there myself. There are so many layers to the book, and I just think it would be very interesting to direct. I’d want Kristen Stewart to play Patti. Casting her friend Robert Mapplethorpe would be difficult but I think Douglas Smith would be good.

How would you describe your life as a filmmaker right now, and what are your future goals?

Right now, it’s pretty indie and difficult. On the rise, I guess. Always moving forward. I would hope I can continue making films and someday make features; big films everyone would get to see and that would help people to feel and connect with something.

Can you offer any advice for aspiring filmmakers who might read this interview?

Yeah, don’t give up. There’s lots of rejection, and obviously you spend all your money and all your time and all your effort but it eventually pays off. If this is your goal and what you want to do, you have to be willing to do that. Ultimately, without putting everything into your dream you will never attain it. Ideally, if you’re reading this interview and this is what you want to do, you have to give up things and face challenges along the way. That’s just how life works.