Filmmaking / Directing : Ask Me Anything (AMA) Wednesday 3/19 to Thursday 3/20 – Directing International Productions by Ana Maria Hermida

Hi, Ana Maria Hermida. Welcome to the community. My condolences to you and your family. Thanks for taking the time to have this AMA! I'm really looking forward to seeing Alix! What's a major mistake that some directors make when directing international productions?

Hello Ana Maria Hermida - it's very nice to meet you and thanks so much for spending your day with us on this AMA. Also, I am very sorry for the loss of your brother. Question: What are some universal themes that tend to resonate across different cultures? I also see that you're a writer of fantasy or elements of it. How do you incorporate that (I love fantasy) into work that is culture specific? Thanks so much in advance!

Welcome, glad you're here for the AMA :)

Thank you for sharing your time with us Ana Maria Hermida! It’s breathtaking to witness your journey and where you are now. ALIX is so beautifully directed and special in a challenging environment. I am curious to know what your greatest challenge was directing ALIX and how you overcame it! What advice can you give to us, women in the filmmaking industry? Thank you. I am cheering for you :))

Ana Maria Hermida Hi Ana Maria, I watched “Alix” last week and loved the way you approached this nightmare existence of child soldiers, with fantasy and magical realism. How did you decide to take this approach and adopt this style in your writing of Alix?

Thanks for doing this AMA!

It's an important AMA, given the current state of industrial affairs! I'm thankful to see this Ana Maria Hermida

Q: How is the current state or general remarks, of dealing with the field of Anthropology and film as it addresses multicultural matters, in the stated current industrial affairs?

Condolences on learning of the loss of your brother, it was great seeing the connection it made for inspiration and meaningfulness!

Hello Ana Maria, I've drafted a detailed movie script, and I would like to know what you recommend I do with it next, how top move it forward? (my email is l.hannah@interactiongroup.com.au). FYI I am an experienced creative/communications strategist and campaign planner (by trade). Len

Hi Ana Maria, thanks for taking the time to do this AMA! I’m currently adapting my novel Nino into a screenplay. While it’s in French for now, I plan to translate it for international opportunities. Since you’ve worked on films that reached global platforms like Netflix and Amazon, what would be your best advice for making a project appealing to international producers?

Thank you so much for being here, Ana Maria Hermida! Your work is such a powerful example of how personal stories can resonate on a global scale. For filmmakers looking to direct international productions, what’s your advice on finding the right creative collaborators, especially when working across different cultures and languages?

Congratulations on the film! I will certainly watch it this week. Can you talk about how you handled data management while shooting in Jungle? And how did you handle power for monitors and cameras, etc?

As a director who do you keep your script notes and shot listing organized? Do you use a digital format like "Scriptation" or do you have a binder or hard copy?

Thank you for being here with us today Ana Maria Hermida - Your journey as a filmmaker is truly inspiring, especially how you blend heartfelt drama with magic realism. It's fascinating to see how your work, from La Luciérnaga to Alix, brings powerful stories to a global audience. Your ability to craft emotionally rich narratives while maintaining a visually stunning aesthetic is truly commendable.

What were some of the biggest challenges you faced while directing Alix, and how did you navigate them? What was it like collaborating with your team on Alix? How do you foster a creative and cohesive environment on set? Additionally, what leadership qualities do you believe are most important when guiding a team through a complex production?

Hi Ana Maria Hermida! Glad to have you on with us! I'd love to know if you've found it easier or harder to make films domestically vs internationally. I'm huge fan of foreign films and tv shows and really impressed at how different everything is made!

Hello, Ana Maria. Welcome to Stage32. I look forward to watching your films. Thank you for sharing your experiences. May you and your family find comfort in wonderful memories of your brother. Please do keep us posted on your progress with your creative projects. All the best to you.

Hello everyone, thank you for your questions! Here are some answers:

What's a major mistake that some directors make when directing international productions?

I’m not sure about other directors, but a mistake I made was trusting other people’s timing too much. On Alix, I worked with a stunt team and special effects (make up, explosions, etc) for the first time, and I quickly realized that I couldn’t ‘direct’ their time—I had to give them the space they needed. I also learned that different cultures have different ways of working, and sometimes you just have to trust the process, even if it’s not what you’re used to.

What are some universal themes that tend to resonate across different cultures? I also see that you're a writer of fantasy or elements of it. How do you incorporate that (I love fantasy) into work that is culture specific?

Humanity and emotions are universal—love, loss, hope, fear. No matter the culture, people connect with stories that explore these deeply. I’m Colombian, so I grew up surrounded by magical realism—it’s woven into our culture. To me, fantasy isn’t just an escape; it’s a way to highlight deeper truths about human experiences, especially in culturally specific settings. It lets me amplify emotions and bring out the magic that already exists in everyday life.

I am curious to know what your greatest challenge was directing ALIX and how you overcame it! What advice can you give to us, women in the filmmaking industry?

Shooting in the jungle wasn’t easy—the weather was unpredictable, the wildlife kept us on our toes—but we learned to connect with nature instead of fighting it, and in the end, it cooperated with us. One of the biggest challenges as women in film is making space for ourselves, and the best way to do that is by telling more stories about women, through a female gaze. It’s not just about having female characters; it’s about telling stories from our perspective, with our experiences, complexities, and depth at the center. The more we write and direct from that lens, the more we change the industry.

How did you decide to take this approach and adopt this style in your writing of Alix?

Growing up, I was obsessed with Alice in Wonderland, and after a road trip through Colombia’s coffee region with my family, I decided I wanted to create a Colombian Alice. As a filmmaker, I had promised myself I’d never make a film about our country’s social issues—guerrilla warfare, drugs, war—I was tired of that narrative. But the more I tried to write this Colombian Alice, the more I found myself landing in that reality. A little girl who runs away from home with ‘Conejo’ and embarks on a dark yet magical journey—it became unavoidable. Magical realism allowed me to explore these themes in a way that felt true to our culture, blending fantasy with the harsh realities we can’t escape.

How is the current state or general remarks, of dealing with the field of Anthropology and film as it addresses multicultural matters, in the stated current industrial affairs?

Anthropology and film are evolving to address multicultural matters with more authenticity. As a Colombian, I’ve personally experienced misrepresentation—everywhere I went, I was asked if I had cocaine or if we even had cars back home. I don’t blame them. I once saw a movie that depicted Bogotá’s airport as a tiny house with a dirt road and a chicken crossing it—it was clear the writer had never been there or done any research. You can’t get away with that anymore. The industry is shifting towards ‘Nothing about us without us,’ ensuring that stories about a culture are told by those who truly know it and understand it.

I’m currently adapting my novel Nino into a screenplay. While it’s in French for now, I plan to translate it for international opportunities. Since you’ve worked on films that reached global platforms like Netflix and Amazon, what would be your best advice for making a project appealing to international producers?

That’s awesome! Adapting a novel into a screenplay is a big challenge, but also really exciting. If you’re thinking about making Nino appealing to international producers, I’d say focus on universal themes—things that connect with audiences no matter where they’re from. Love, ambition, identity, survival… those always translate well. Also, think about the visuals. A great screenplay isn’t just about dialogue—it’s about telling the story in a way that feels cinematic and engaging even without words. Since your script is in French for now, when you translate it, make sure it keeps the same tone and emotional impact, not just the literal meaning. And of course, having a strong pitch package helps—logline, visual references, and a clear idea of the audience you’re targeting. Platforms like Netflix and Amazon look for stories that feel fresh but also have a wide appeal.

For filmmakers looking to direct international productions, what’s your advice on finding the right creative collaborators, especially when working across different cultures and languages?

Great question! When working on international productions, having the right creative collaborators is key—not just for logistics but for authenticity. If you deeply understand the culture you’re portraying, that’s great. But if not, bringing in consultants or creatives from that background is essential. It’s not just about avoiding missteps; it’s about enriching the story with real nuance and depth.

A film like Emilia Pérez is a great example—it has an amazing creative vision, but the disconnect in language and cultural details holds it back. Those little things matter. Audiences, especially from the culture being portrayed, can feel when something doesn’t ring true. So my advice? Surround yourself with people who live and breathe the culture—writers, actors, designers—who can bring that authenticity. And most importantly, listen to them. It’s not just about ‘getting it right’ but about telling the best version of the story.

Can you talk about how you handled data management while shooting in Jungle? And how did you handle power for monitors and cameras, etc?

That was definitely one of the biggest challenges! Luckily, I had a great team, including a solid DIT and professionals who really knew what they were doing. Power was a huge consideration—our generators were placed across the river, far enough to avoid noise interference, but that meant running tons of theater-grade cables through the jungle. Honestly, that ended up being one of the most expensive aspects of the shoot.

Data management was also crucial, especially in such a remote location. We had a tight system in place to back up footage multiple times a day, making sure nothing got lost. Jungle conditions—heat, humidity, unpredictable weather—meant we had to be extra careful with all the equipment. It was a logistical puzzle, but having an experienced crew made all the difference.

As a director who do you keep your script notes and shot listing organized? Do you use a digital format like "Scriptation" or do you have a binder or hard copy?

I’m definitely more old-school when it comes to script notes and shot lists—I print out the script and make notes all over it, plus I keep a notebook for additional thoughts. There’s something about having a physical copy that helps me stay focused and engaged with the material. I know a lot of directors swear by digital tools like Scriptation, but for me, writing things down by hand just works better. It makes it easier to flip through pages, sketch ideas, and quickly adjust things on set.

What were some of the biggest challenges you faced while directing Alix, and how did you navigate them? What was it like collaborating with your team on Alix? How do you foster a creative and cohesive environment on set? Additionally, what leadership qualities do you believe are most important when guiding a team through a complex production?

One of the biggest challenges while directing Alix was navigating the complexity of the production while staying true to the creative vision. But with patience and resilience—and always trusting my instincts and my team—we made it work. I was lucky to have an amazing team, so collaborating with them was a great experience.

I believe fostering a creative and cohesive environment starts with knowing your team well—understanding their strengths and giving them the space to thrive. Even under stress, I like to keep the set fun and positive. When people feel valued and enjoy the process, the work reflects that energy.

As a director, leadership is about balance: having a clear vision but also being open to ideas, staying calm under pressure, and making sure everyone feels heard. Trust is everything—when your team knows you trust them, they bring their best to the project.

Thanks so much for your response Ana Maria Hermida and I love this line, "fantasy isn’t just an escape; it’s a way to highlight deeper truths about human experiences, especially in culturally specific settings. It lets me amplify emotions and bring out the magic that already exists in everyday life."

All the best in all you do and congratulations!

You're welcome, Ana Maria Hermida. Helpful answers! Thank you for the answers and thanks again for taking the time to have this AMA! I plan on watching Alix this weekend. I'm excited to see it!

Thank you Ana Maria Hermida for replying to us and I loved your advice for female filmmakers. Thank you and I am cheering for you :)) Gracias.

I have a full feature set in Colombia that could get government support as it is set around historical locations. Interested?

Hi Ana Maria,

Thank you so much for your insightful answer! I really appreciate your advice, especially about focusing on universal themes and the importance of strong visuals. I’ll definitely keep that in mind as I refine Nino and eventually translate it.

I also loved what you said about magical realism—how it allows us to amplify emotions and explore deeper truths. That resonates a lot with the storytelling approach I’m working on.

I’ll keep working on my screenplay and structuring my pitch package as well. Thanks again for your time and wisdom! Hope to connect again in the future.

Ana Maria Hermida, your answer(s) is/are most appreciated.

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The entire post is certainly just superb with composition! Congratulations and I’m thankful for this AMA!

Ana Maria Hermida Ana, thanks for your answer. I love the way the Universe imposes itself on our intentions. Well done for being so flexible about the fantasy/magical realism element. I think you crafted a great balance between those harsh realities and the fantasy elements.