Submerged is an honest and vulnerable story of heartbreak, finding comfort and solace in one's own company and rediscovering your voice.
As a co-producer, I saw my role as helping guide the project from script to screen, balancing creative vision with the practical demands of production.
Development: From Script to Proof of Concept
Maria and I were first approached by Leigh Truant, who had starred in our practicum Get Together. Leigh shared that she had written Submerged back in 2016 and wanted to finally bring it to life.
Right away, Maria and I recognized the potential. The script was emotionally honest and thematically universal, but it also presented production challenges: a story built on vulnerability, contained settings, and visual storytelling rather than dialogue.
We decided to apply for funding through the Society of the Creative School, where we put together a detailed package including a proof of concept, budget, and production considerations.
This stage required me to shift into a dual mindset: championing the emotional resonance of Leigh’s script while also translating it into tangible production requirements.
Pre-Production: Building the Foundation
Once funding was secured, Maria and I focused on how to streamline the production process without compromising the film’s tone. My thought process centered on:
- Aligning Creative and Practical Needs: The story demanded intimacy and a sense of isolation, which influenced our location scouting. We leaned into minimal but expressive spaces.
- Resource Management: Ensuring we maximized the small budget we had. Prioritizing departments like camera, and lighting that would heighten the emotional weight of Lily’s journey.
- Collaborative Structure: Working closely with Leigh required sensitivity. We wanted her to feel empowered directing a whole crew as first time director, so part of my role was designing a production environment where performance and logistics supported one another.
Filming: Holding Space for Vulnerability
On set, my thought process as a producer was about balancing efficiency with care. This film was less about technical spectacle and more about holding space for performance. Therefore, we structured the shoot to give Tiana breathing room between emotionally heavy scenes, avoiding the rushed feeling that can happen on tight sets. Maintaining clarity between departments so that the flow of filming supported, rather than distracted from, the intimacy of the story. And when challenges arose (whether in timing, location adjustments, or coverage decisions) I kept asking, “What serves the story best while respecting the production realities?”
Reflection
Looking back, co-producing Submerged was an exercise in bridging vulnerability and logistics. The project asked me to translate a deeply personal script into a feasible production plan, balance budgetary limitations with creative intent, and create a set environment that enabled raw, honest performance.
And hey, a film came out of it!
