Tracie Laymon
During a historical time for our industry, a group of hard-working artists all came together to tell this deeply personal story – under a contract that was created and endorsed by SAG-AFTRA.
Photography by Daniel J Kim
Makeup by Sherri Celis
Photo Assisting by Mikey Santillan
Indie director Tracie Laymon chatted with JULY about making their upcoming feature Bob Trevino Likes It starring Barbie Ferreira and John Leguizamo under a SAG-AFTRA interim agreement. SAG-AFTRA has urged its members to support and participate in approved interim agreement productions as a show of solidarity during the ongoing strike. To obtain such an agreement, producers must operate independently from companies associated with the Alliance of Motion Picture and Television Producers (AMPTP) and agree to terms proposed by the union. This move is intended to strengthen the union's position and demonstrate that independent producers are willing to work with members under these terms.
Tell us about your movie Bob Trevino Likes It. We know it's inspired by a true story, a personal story of yours, would love to learn more about it and what made you decide to tell this.
It’s inspired by one of the times my dad “Bob” ‘abandoned’ me. I was searching for him on Facebook, hoping to reconnect, when I accidentally friended another man with his same name instead.
“Facebook Bob” was kinder to me than my father ever was and that friendship and his kindness unexpectedly helped me to heal. I became determined to tell the story and show how the little things we say to others in life can make a real difference. We all have pain, but if we are kind to one another, we can help each other, and ultimately ourselves, to heal.
This is a rare positive story about social media.
This movie was independently funded and doesn't have a studio affiliation. Can you share with us about how some of the funding was acquired?
This movie was paid for in large part by friends and family and loans. For example, I used to teach filmmaking to teenagers and one of my student’s families, who have become chosen family to me, were some of our first investors.
At one point we were waiting on some of our funds and I had to put all the money I had to my name into the film -- it was money set aside from breaking my back in a car wreck as a kid, so I guess you can say I broke my back for this film… literally.
The SAG strike started on your second day of shooting, how was that experience and the anticipation for the interim agreement to come in?
Let's just say I was grateful I had done a lot of mindfulness classes in recent years. My incredible producing partner literally went gray from dealing with it. It was like watching a timelapse of Obama in office.
In all seriousness, it really solidified our whole cast and crew. We rallied around each other to support one another and became a real team. It really took a village. I nicknamed us "the little indie that could.”
How did the SAG-AFTRA interim agreement impact the production of Bob Trevino Likes It?
The interim agreement allowed us to continue production on our truly independent film. Without it, I would not have a film – and would not be doing this interview.
This film was a moving train for many months before the strike commenced and our team had been in regular touch with SAG-AFTRA for quite some time.
Independent films are often a house of cards, carefully balanced together, including cast, schedules, and financing. If we had not received the interim agreement, we would have had to shut down. The money we had spent would have been lost and we would not have been able to start the film up again. Unlike the studios, we had no deep pockets to turn to to recoup anything or obtain additional financing.
Making any indie film is a miracle and SAG-AFTRA and the interim agreement saved the life of ours.
You have such a talented cast, with Barbie Ferreira and John Leguizamo at the helm, along with many other folks. How was it working with them? Was there a feeling of solidarity in making a passion project like this?
I can’t say enough good things about Barbie and John and the rest of our incredible key cast including French Stewart, Lolo Spencer, and Rachel Bay Jones. I am so blessed and grateful to have had the opportunity to tell this story with each and every member of our cast.
Barbie and John are obviously phenomenal actors, but they are also two of the most wonderful human beings I’ve ever met. They have exactly the kind of heart, soul, dedication and drive it took to lead this heartfelt movie, especially under our challenging circumstances. This film is about chosen family and they certainly became part of mine.
Were there any unique creative or logistical choices you had to make as a director due to the SAG strikes and the constraints of the interim agreement?
As a director, you’re always fighting for days, trying to get the most shooting time you can. We lost a day of shooting due to the strike, before we were approved for an interim agreement and had to re-work our schedule to accommodate for the loss. Thanks to our incredible team, we managed to do it.
Despite the challenges involved, losing one day of filming to support actors during this crucial time in history was a small price to pay in the big picture.
Did the interim agreement impact the overall budget and scheduling of the film? How did you navigate these challenges?
Making a film, especially an independent film, is terribly difficult and the challenges are nonstop. The interim agreement did not cause us any issues whatsoever. In fact, it was our saving grace.
Bob Trevino Likes It is a truly independent film. During a historical time for our industry, a group of hard-working artists all came together to tell this deeply personal story – under a contract that was created and endorsed by SAG-AFTRA. It’s the perfect time for this type of independent film and I think its reception will reflect that.
In light of your personal knowledge and experience with abiding by the interim agreement on an indie level, how does that make the AMPTP appear in contrast for refusing the same terms?
It has felt odd to me that a low-budget indie film like ours was able to quickly and easily agree to terms that huge studios have not yet been willing to accept. I think so much of that difference comes down to one word– respect.
As an indie filmmaker, what advice do you have for other independent directors facing similar labor-related challenges while trying to bring their projects to life?
Unions have always been pivotal to creating change and protecting people from harm and exploitation, and independent films like ours are not the enemy in this battle. We need art, community and stories – especially in periods of unrest. Don’t ever stop creating art or telling your stories. Just do it in a way that supports your community of fellow artists and craftspeople.
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