EL VALS – Post-Shoot Q&A

Alycya Magaña was our Spring 2021 Grand Prize Winner of the Short Film Fund with her moving script EL VALS. The film is directed by Damiana Acuña and follows a young girl who wants nothing more than to acquire a Quinceañera dress for her older sister, especially now with their mother deported. But how will she do it with no money and CPS closing in? Principal photography was completed in May 2024. Read below to learn more about the production process—its highlights, challenges, goals, and more.

Did the script go through any development from the time that you won the Fund to when you went into production? If so, what were the main changes? 

Alycya: Yes, the script was modified slightly to reduce scenes to fewer locations. One of the main changes was having the main character see the quinceañera boutique and dress through a TV commercial rather than having her walk in front of the physical store.

Damiana: Yes! Alycya (the writer) and I workshopped the script together to solidify both the story and adapt it to our budget. One of the main changes was that Danny, the protagonist, was originally a boy and ended up being a girl that we fell in love with during our casting sessions.

How did you two meet? How did Damiana become attached to the project?

Alycya: I met Damiana through the Shore Scripts Director’s Roster and noticed that she had amazing experience and I thought her background and being from Mexico fit the project perfectly. Damiana became attached to the project after two other Shore Scripts directors fell through, which was great because I got to work with Damiana, who had already been on the top of my list of directors to work with for this project.

Damiana: Dave Beazley from the Short Film Fund introduced the two of us and we just clicked. We spoke the same language, shared a similar sensibility, and admired each other.

How involved were you during pre-production and production? Were you on set during the shoot? What was the experience like for you?

Alycya: Damiana kept me in the loop throughout pre-production and production and checked in to give me any updates that came in. I was unfortunately not able to be on set during the shoot as I was working on a project overseas. This was a great experience that taught me more about the production process that will help me on my future projects that I will be directing.

What is the best thing about not directing your own script?

Alycya: The good thing I found about not directing my own script is seeing what Damiana would do with it from her point of view and experience, which is exciting. I’m looking forward to seeing the final product!

How did you find the cast?

Damiana: Our brilliant producer Naby Dakhli did most of the work here, finding our two great leads, who happened to be real-life sisters. He was also the one to suggest we open up our search to a girl protagonist and I think that was a great call. Shannon Bobo (our generous casting director) and Pablo Zamorano (our witty co-producer) helped during the casting process as well.

What motivated your decision to shoot on 16mm? What were some of the biggest challenges and rewards for shooting on film?

Damiana: Most of the references Olivia Segarra (our talented cinematographer) and I had gathered were shot on film. Having ARRI’s support as part of the Short Film Fund’s incredible grant, we were able to get the Arriflex 416 whilst the Mexican production house The Maestros (my film family back home) donated our film and scanning, making it possible for us to shoot on film. It was much more challenging than I expected and I found myself completely out of my comfort zone since the process felt like walking with my eyes closed. We are too early in our post-production process to comment on the rewards.

We’d love to hear about some of the practicalities of your production. How many days did you shoot for? Where did you shoot and how did you obtain the necessary locations and permits? Were you able to stay on schedule?

Damiana: We shot for three days in the greater Los Angeles area (Temple City). Our production team took care of permitting and although we got behind schedule multiple times due to unexpected challenges, we were able to get the shots and scenes we needed each day.

Were you able to get what you needed from ARRI Rental? What do you feel were the biggest benefits of being able to work with them?

Damiana: I cannot speak higher of ARRI and their generosity, camaraderie, and willingness to support our tiny project. We had to push our shoot dates multiple times and changed our minds about shooting digital to shooting on film and they were beyond accommodating. Also, they treated us at every turn as if we were a big Hollywood production with care, professionalism, and personalized communication. I paid a visit with our DP and her 1st AC (Jacob Mariani) and just walking through the ARRI lot and seeing the camera come together was a dream come true. I could not be more grateful for their commitment to initiatives like these. 

What did you enjoy most about pre-production and production? What was the most difficult?

Damiana: The writing sessions with Alycya, putting together the whole puzzle with Naby, and going back to Los Angeles to try and make the film happen which, for over a year, seemed like an impossible endeavor given our budget restraints. It was the sort of project where all hands are needed on deck and although that can be challenging, it can also be a heartwarming, bonding experience like when we were all helping our fantastic production designer Marina Perez wallpaper the kitchen so we would make it on time.

We love hearing serendipitous stories. Did anything happen during production that was initially a “problem” or obstacle that ended up being the best possible thing for the project?

Damiana: I was concerned about having a six-year-old lead and the challenges that normally come with it. But, Emilia Phoenix Caro (keep an eye out for her) surprised me and everyone else at every turn. She was a natural and had a contagious happy-go-lucky attitude that kept brightening all of our faces.

How is post-production coming together?

Damiana: Slowly. We are working with cherished Mexican editor Silvia Tapia who is currently in Ireland. 

What are your aspirations for the short once it’s completed?

Damiana: For it to have a good festival run so everyone’s effort and commitment to the project will be seen on a couple of great screens around the world.

Do you have any advice for filmmakers and/or writers embarking on their first short film?

Damiana: Yes. Seek out initiatives, grants, and funds like The Shore Scripts Short Film Fund because you don’t have to do it alone.