In this episode, we catch up with Assistant Professor of FIlm Production Jaye Davidson, who, aside from working on her own film—and recently having a baby—is co-producing several big films.
In this episode, we catch up with Assistant Professor of Film Production Jaye Davidson, who, aside from working on her own film—and recently having a baby—is co-producing several big films.
To learn more about Jaye's original film The Lady Edison: https://www.youtube.com/watch?v=4z73x92pJpc
From the Department of Theater and Film at the University of Mississippi. This is stage and screen.
Katherine Stewart
Hello, hello and welcome back to stage and screen. I'm your host, Kathryn Stewart and our guest. Today is Jaye Davidson, who is an assistant professor of film production in our BFA Film Production program. You may remember Jaye from an earlier episode. We spoke with her in early 2021 after she first joined our department. At that time we talked about her short film The Lady Edison. Since then, Jaye has gotten involved as a producer on several new film projects and The Lady Edison is getting what you might call a glow up. We had a really fun conversation about all that and more, so stick around.
Hi Jaye, good morning. It's so good to see you yeah.
Jaye Davidson
Morning Catherine yay.
Katherine Stewart
I'm excited to talk to you. Today, about everything you have going on right now.
Jaye Davidson
Yeah, the biggest thing I have going on was to say hi to you all.
Katherine Stewart
Hi Auburn.
Jaye Davidson
And listeners at home. I just had a baby. Her name is Auburn and don't get mad that she's named after a different university. My my husband is from India and it was the one American name we could agree on and he vetoed all my Indian names so.
Katherine Stewart
That's interesting. Well, maybe we'll talk more about that later.
Speaker
Yeah, cool.
Katherine Stewart
Yeah, but yeah. So uh, we wanted to have you on the podcast today 'cause you are involved in three different film projects lately and we would love to hear more about them. Can you kind of tell us what those projects are or what those films are?
Jaye Davidson
Yeah, no. So what's really exciting? Uhm, is, I have discovered that I. Just really like producing, especially being able to produce come from Oxford or from you know home or whatever it is. And and I had the privilege gain involved and three feature film projects. Two narrative features and one documentary and a narrative feature is just a film way of saying nonfiction. And yeah, so the cool thing is the they're all in different stages, so the documentary project is called Snow Land and Snow Land is about a woman who, when she was in her youth, got in a child marriage in a Mormon cult. Out in Utah and. Caped and it's about her as an elderly woman and coping with her trauma with her imaginary world called Snowland and her art. And that is actually in post production and we can talk more about documentary post production and how it's different than narrative post production. The second project I got involved with is still in development and there's a term called Development Health which is we can elaborate on and it's called a take two. The director is Linux. Phillips he has been. He's a Sundance director. His last few projects, one of them called Rainbow Time, has been in Sundance and that was executively produced by the Duplass brothers and starring Melanie Lynskey. So he's doing. His sophomore feature, he also had a web series in Sundance. He's doing his sophomore feature. It is kind of like a meta. If you hear that cooing, that's my trial. It's a meta thing. A movie about a filmmaker who went through dramatic breakup making a movie about the break up to try to process this break up. It's like an art therapy exercise, and it's also Lynn is doing or therapy exercise about his break up through the process and filmmaker. Making a break up they try to. Just come with the healing and also just kind of talk about our therapy and also just the hilarious. You could be neurotic in trying to self here, sometimes from important life experiences, and it's kind of a joke on that. And the third project, which I'm really excited about, it's called the French Italian. I'm gonna go to the other side of the room. The third project is called the French Italian. And the French Italian is an absurdist comedy that takes place in New York City. Post COVID and it's about these neurotic New Yorkers who gave up their rent controlled apartment because their neighbor during COVID saying too much karaoke and instead of taking responsibility for their lack of. You know just talking to the neighbors or whatever it was. They blamed that neighbor so they wrote a play a fake play called the French Italian to prank this neighbor. And they actually fall in love with their own art process. It's the art process. Movies all three, I guess not. I think about other people make about people making art to to process things, but it's an absurdist comedy with unlikable leads. But the real life actors behind them are completely likable. The lead actress is Kat Cohen. Who has a Netflix special in the lead actor? Uhm, he was on SNL. His name is Aristotle and her three. I'm picturing his name he he's less one Silicon Valley and in real life they're both super nice people. And yeah, I got a little selfie with Catco. And I'm very. Proud you know my husband knew who she was and that that's always the when, you know when you come home and people are like I know that person you're working with and it's like yeah you.
Katherine Stewart
Very cool.
Jaye Davidson
Know cool I'm cool I I mean. Anyway, like I I was a producer on that project that project has. So many talented producers attached to it, John Reed, Allison Carter, who helped produce Everything Everywhere all at once. Uh lead producer. Moronic Aunt Miranda Khan who kind of brought me on and let me shadow her like she's fantastic. Lovely, lovely lovely person. And that was cool and we got to go on set in September and then there in post production now. And they're trying to target for the major festival debut, you know? So that's where they're that's their their hyper focusing on that.
Katherine Stewart
Wow, so you're involved as a producer in some capacity on all three of these projects, what? What does that role entail in each of?
Jaye Davidson
Them, so even if film people joke. About being big as producer role like. I invited so I invited. A friend that you used to work with at crave. It sounds that would be in New York and she got to sit with as a tap and she's like. I've always wanted to be one of those ambiguous.
Speaker
These are people.
Jaye Davidson
And then we joked about. Like how you have your iced coffee and. And then I pointed out that the. One of the producers had a nice coffee and another person brought ginger shots. You know? Like what is this producer? Do you know? So there's that? And then in my case, like. Uhm, you kind of you offer different things. You offer resources. Maybe that's context. Maybe that's financial resources and and a lot of times it's just having conversations with them about. What they're trying to do in this? Stage that they're at. So I just met with Linnas probably 2 weeks ago. And we had. Just a conversation. He wants to change the script and we just had a conversation of like. Well if you make that quarter, James says he's hoping to change the script to get a named actress that he's friends with in it. I won't name that actress, but someone that's real and nominated for things and so basically he's talking about maybe changing it to get her in and I'm like. That's a great idea from a producer standpoint, but from a story standpoint, you know if you make these changes, it's going to affect how you that is perceived your character. So that's kind of those conversations you have in development. It's just for fiction for narrative, where what it how is this going to affect? Your story for documentary. It's very different because it's kind of in a unique zone where post production is kind of a combo of film development, but it's already shot. So it's really funny because you're dealing with hundreds of, I think, Jill, the director, Jill or show, whose short film, I'm sister. She made a short film that got into Sundance about. A different Mormon cult situation. She's very expertise on this and you know, she shot hundreds of hours for snowland, so at that point you are kind of having you know we're writing grants with together and. Even though she's shot all the footage, even though the editor had seen all the footage weren't, and sometimes we're in stages where we don't even have an assembly cut. I've only seen like. 5 minute clips here and there that editors put together, so then you're talking to the director and be like, OK, what footage do you have? And then you're writing these synopses for these grants like Sundance. And, you know, that's a major great name, but like you? Write synopsis and you're saying, OK, well, this is what the story is going to be. And then you're kind of doing what you're doing with script writing where you're like. OK? Well, if we do this, we do that, except you don't have to go shoot. It's already shot so you're just working.
Katherine Stewart
Right?
Jaye Davidson
You know you have already. And then the style and those conversations, and then for the French Italian it's already shot, and it's already doing well. It already has what it needs to have, so then it's a conversation of. Since it's a lower budget feature, you know I can refer names and say, you know, I love my composer on the Lady Edison. His name is Greg Miclat. He's already had his own coverage in Hollywood. He was for Disney and I could say, hey, you know, I maybe this guy would be great for you. I don't know if they're you know they're not in that stage yet, but you just recommend resources and say. That might be really great to in that directly you know.
Katherine Stewart
Yeah, yeah.
Jaye Davidson
So the interesting thing about it is I don't feel like producing is weirdly that different from teaching. I mean, obviously I don't get in front of a classroom and lecture. These brilliant film makers on how to make their movies, but the conversations? We have in the film depart. Meant about story or about cuts, or about who to work with. These are all the same conversations that I have with students in our department and professional film makers that have already been to Sundance. Uhm so and all three of these directors have had either been to Sundance, or in the case of Rachel, who directed the French Italian. She's already gone through the labs, so and and they're still taking notes like I'm giving notes on Linux script and Jay Duplass gives notes on those this little script and Jay Duplass if the listeners. He is an actor, producer, director, writer. He was in he. He was in transparent. He's brother is Mark Duplass. I mean, these are huge, huge people and you're, you know. So you have to come when you give notes to someone like Linux, he's already been to Sundance and that. Like you, you you can't, you just you know it's kind of a humbling place to be to give someone that nerd. You also need to be confident in your idea, because if you really read the script and care about the script and care about the filmmaker, you're going to see things. That you or that our observations and the thing about what's good for film makers to hear is your observations. You don't have to be didactic on telling them what you think they should do, but you can just say like these are my observations about this character and the change you're suggesting. Would affect that thing. I think you're already doing and they might and be like, oh that's interesting. I never thought about that or they're like, yeah, but this is my solution and I just think talking now your story. With people and at least in film, is important because when you're directing. A project that's literally all you're doing is you're talking about story with editors, the actors, the director of photography, this the composer. You're constantly doing it so talking about with the producer can actually be helpful because it's like the first person that you can talk about with. Before you, you were having to talk about with someone who's fundamentally dependent on your notes to perform their job.
Katherine Stewart
Well, so so how did you get? Involved with all three of these projects.
Jaye Davidson
Well, this is what I told my freshman in the first week, which is who I I even say to them like who you're sitting next to in this class right now matters more than who I am to you right now because they're all connection base is a very connection based industry, so there was not a single film project that I got involved with through just. Cold calling that they are being like that.
Katherine Stewart
It's not like applying for a job, right?
Jaye Davidson
No no no no applying. For a job you just kind of, so the snow link connection I one of the producers on the project. Her name is Joe Hardman. We work together at a creative agency in Atlanta and that's how I got involved in snow land and take two Marty Lang wonderful man. And I went to the same film school, but not at the same time we both went to. Cristate and he's a professor at the University of Memphis and we just touch base because you know, Oxford Memphis. They're pretty, they're not crazy close together, but they're pretty close together and in terms of, you know, making a contact from your school and then for the third project, the French, Italian, UM. I just happen to know the manager for the director of the front Italian, also for estate connection. So that is why connections are everything and not something I tell my students ad. Nauseum like these are, these are very important that you guys figure out how to network. How to maintain good relationships with each other even.
Katherine Stewart
Yeah, sure, so that's actually a great lead into the next thing I wanted to ask. So as far as your teaching in our own production program, how do these experiences and opportunities that you're having now? How do those enhance your teaching and opportunities for our students?
Jaye Davidson
Well, it's just kind of a reassurance for me. The material in teaching the students works because when we went on set, you know I was like, hey, I just kinda want to shadow 'cause I don't want to upset and be like I am an expert when I'm, you know, shadowing people who are currently in the thick of it. It so I was like hey, I just want to learn from Miranda con and your team and they're like cool and they were showing me like these different reports and I was like Oh yeah, I teach us of the freshman. They're like you teach those to freshmen, and I was like, yeah, and then they showed me a long script and their one line scheduled nearly. These other freshmen I was like no, so that's a little too much refreshment. And they're like, yeah. I do teach them to the advanced classes and they were like really, you teach that to your advanced class and I was like yeah, and they were like we they were like we didn't learn any of this in school and I was like, well, everything I've like. Well we do teach, so it's affirmation that. Like everything that we teach the students is relevant to learning set and their job, and these are the stem where human professionals are highly successful. They didn't learn this in college and then they have the opportunity to learn this in college and I think that gives them an advantage. All with these you know still want to pursue film and say OK, I want to go to Atlanta, New York, LA. We say no. All the things and they're not surprised, and so if they have a learning curve, it's not going to be that you. Know as far as like what it offers to the students in it. You know it helps conversations because I remember last. Here I was working on that Sundance grant with Jill and then I'm working with last year juniors or this year seniors and we're talking about learning how to treatments and things like that. And then I can be like, Oh yeah, well, here's this real grant I'm working on for Sundance right now and then and so. Then it's like, hey, like. Everything I'm teaching you is relevant to the real world. I'm not asking you to do things that aren't going to benefit you in the future, and that's actually the foundation of my teaching and philosophy in all my classes.
Speaker
This is.
Jaye Davidson
Easy thing, I'm teaching them something that could enable them in the future to find work, not just artistic merit, which is valuable but like work like period. And so these experiences give more credence to students, because if they don't, under if they can see that hey, there's real world. Value to what this person is expressing to me right now. Then I'll pay more attention. I'll take it very seriously.
Katherine Stewart
And then I guess on top of that. Of course it's it's making connections right?
Jaye Davidson
Yeah, I mean it's. Making connections I had the privilege of bringing Jill or shall who is the director of Snowland. Oh my documentary class. I had the privilege for bringing Marty Lang, who is one of the producers on take two to the cinematic story class storytown class last.
Speaker
Very cool.
Jaye Davidson
And he showed them a different project that got into Sundance that he made with a shoestring budget. So you're allowing them to have direct access to film makers that are doing work. That's on getting accepted a lot. You know, exceeding set it on a very high level who are generously giving them feedback.
Katherine Stewart
Yeah, that's that's exceptional. So I don't know if if you know this yet since. Some of these? Projects are kind of earlier in development, but where can we see any of these films? That you've been working on.
Jaye Davidson
Well, I'm
Katherine Stewart
They know when they're coming out or they'll be available.
Jaye Davidson
Well so yeah, no, I know where they are. So the good thing about Snow land is it just got a Rocky Mountain film grant, so it's in the thick of it. But Jill is based out of Park City, UT, where Sundance is, and she's already been in mass, so I'm hoping in her case and in Linux is case that they'll be back in Sundance because they've.
Speaker
Right?
Jaye Davidson
Already done that, but that won't be until those are done. And I I can. Linens doesn't even shot his yet and I and if he gets the name that he wants to get that he's been working. Around schedules there. For high networks that I cannot name, so like I don't know when that thing happened. Blade, you know, I think Jill's. Movie will probably be done by 2024, and she'll probably try the Sundance allowed row. And then you know when that happens, you always have me back on. The podcast and we can talk more. But the third film of the French Italian I definitely think that's going to be the ironically 1/3 project that was brought on will probably be out the quickest the French Italian. They're hoping and I feel confident. You know, they're hoping for some big festival premieres in this spring. I I don't want to say which in case they get a different one. You know you never know these things, but they are hoping for significant festival premiere this spring and then.
Speaker
Huh, huh?
Jaye Davidson
You know if it gets approved from here after that there is a you know. I don't know if it'll be on a bot in the festival circuit or if it will be one of those things that you pop. On one is one day and you see it, but I'm confident I'm, you know, I'm confident that will be a streamer.
Speaker
That's right.
Jaye Davidson
Success with the other two. I'm definitely hoping, but I I don't. Know yet and that's a that's. A lot of thing about film, it's you know you have to. You just try to work on projects that you believe in the film makers and that you have the opportunity to work on and then you never know. So where they go or where they don't go? And you just keep going because you could still get something out of the experience of working on the projects, even if the film. Didn't want an author.
Katherine Stewart
Yeah well so last time we had you on the podcast, we. Were talking about your. Short film lady Edison. Well, what's wrong with that and what are you working on next?
Jaye Davidson
Uhm, so the lady Edison I have had the privilege to travel with that film. I got to go to the Bolton International Film Festival and you're like Bolton why is that? It's actually an obscurely small town outside of Manchester, England, but both. Is a bathtub. Qualifying Festival, which is the British version of the Oscars. So I got to go last fall to that because of my partnership. If you can hear that baby screaming, she's just jealous she I'm talking to you, Catherine. Because of my partnership with Lianza, which is a Colombian based company, I did get to go visit their company and Visio, Colombia where the film premiered and I got to go to Sedona International Film Festival in Sedona AZ which is amazing. But the Lady Edison is actually playing three more times in England this fall. So she's playing at. The Northeast Festival one. Soho London run them rocks. I don't know I. Can't even get. Up honestly, I and that sounds really conceited. It's just more 'cause I have baby brain and she's going to be going to and I'm calling the film with her. It's based on a female inventor. I think that's why, but the film is going to Greece in December. Uhm, I don't know then how to pronounce the town, but it's Alexandroupoli, uh? It has play. I was able to represent it in New York when I was there for the filming of the front Italian and I was. He played twice in LA and I had my LA friends being like hey, why are you coming? Out and I. Was like have a baby bro. Like I can't just go play right now. Nearly here in New York, and I was like, yeah, but I have two reasons to go New York. I'm my film on producing there and you know, and the lot. I I had to. You had to stack the deck when you. Have a child you know? So anyway, so. The film is. Doing the film is doing pretty well. I did get this is a shout out to old miss and to doctor Jamie Harker, who Is a fantastic person.
Speaker
Oh yeah.
Jaye Davidson
And basically I was in I. I'm a nice and fellow, so where the next steps of that is? I mean I've been working on this script. I've just in, you know, writing and writing and trying to figure out how to make this story. And to a feature script and then beyond that I don't know. I had the pleasure of talking to the lead actress this week, who you can find her on. You know Netflix shows and USA. And the reason I had the privilege is 'cause my baby accidentally called her 4:00 AM and she goes. What's going on with that call and? I was like look at this baby. OK oh. Anyway, but I mean she's you know she's like. Yeah, I'm gonna read it when it happens, but you just have to kind of just take it step by step. With some projects. I feel like it was an exceptional privilege to get the opportunity from. Oldness to go to these festivals. To write this feature script and I'm you know very grateful for the support and encouragement and resources here. But at the same time like I I can't. I can't thank feature film. Uhm, because I mean beyond features. I had to think feature script and then when you only script you go 'cause I have other feature scripts that I'm kind of like. OK, like I got the script, now we're trying to work on the promotional materials for those things and you have to just take things one step at a time with them and you try to do it. The goal is you try to do as many. Projects as possible. Cool, so at least something might hit, you know.
Katherine Stewart
Yeah wow, that's exciting though. Think about what happened actually, yeah.
Jaye Davidson
Well, no, it's Well, my life. Is very strange right now I I alternate between being on a research leave so it's only between you know, remote working mom life to go into New York and hanging out. Real people. Are like I can't even. Do a podcast with you without making appearance.
Katherine Stewart
Uhm, is there anything else you would like to share about the recent work you're doing or what you have? Coming up that we. Didn't touch on.
Jaye Davidson
Well, I I'm really excited about this screenplay that I wrote with my writing partner, Hilmar Skyfield, called The Prophet.
Speaker
OK.
Jaye Davidson
And I can't say more than that other than we're just really hoping to put together promotional materials.
Speaker
OK.
Jaye Davidson
For it so we can shop it, but I'm very passionate about it and. I feel 'cause it's completed and Lady Edison is something I'm still working on. I feel like if it all goes well this is the next project you'll be talking to me about.
Katherine Stewart
Wonderful, that's. Very exciting. It's very exciting. Well, thank you so much today. It was great catching up with you.
Jaye Davidson
Thank you so much and listeners. You cannot see Catherine Bush.
Katherine Stewart
Once again, that was Jay Davidson, assistant professor of film production. A lot of what Jay is working on right now is still under wraps, but you can keep an eye on our social. Media for updates. We'll have all those links in the show notes and until next time. This is stage and screen.