Before I start, I should note I’m aware there might be nothing more boring then to hear a writer talk about how they write. It’s certainly a potential pitfall to avoid. Don’t talk about writing, just write!

With that out of the way, when I write stories I often get an impression in my gut — an emotional sense — and then I write toward that sense of feeling. For She Has A Name I had a strong impression like this, even before I had the plot in mind. One of the earliest scenes that came to me before I wrote anything else, was of a dam of water held back too long, finally breaking open.

The scene came to me while I was writing on the floor in the place I was renting at the time in Red Deer and if you told me then I’d be standing on a film set in Thailand as that very moment was captured eight years later, I would have wanted to believe you.


I didn’t take much pause during production to savour the enormity of the experience for me as a writer and producer. It’s mostly not helpful for the work to be sentimental anyway. But as Ross Bodenmann and Daniel Kooman will be able to attest, I didn’t take a moment to savour this so much as it seized and took over me.


Directors Matt and Daniel Kooman on monitor with DP Bob Nguyen filming the final scene of She Has A Name

It’s one of the scenes I’m most proud of in the film. Certainly this is due to the on screen work of Deborah Fennelly and the beautifully nuanced performances of Giovanni Mocibob and Vanessa Toh and the magic touch of directors Daniel and Matthew Kooman and DP Bob Nguyen.

One of those great moments that stands out for me in time.


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