Patrice Bowman on Challenging Yourself As a Creator

Patrice Bowman is a New York City-based director, writer, editor, and colorist. She graduated with a B.A. in Film Studies - Production from Yale University in 2015. Her first short, the award-winning "Lean on Him," played in film festivals across the USA. She’s fascinated by the way that film and the arts can impact society and aims to create films that can inspire, entertain, and educate. Patrice is a one-stop-shop for production and has challenged herself to continue to grow in each facet. Her latest short film, the award-winning "Saturday Grace," has played in several high-profile film festivals so far. She’s also the founder of Bowman Pictures, LLC, a production and post-production company. We’re excited to talk to her about her process and her creativity.

On Her Early Life:

Where did you grow up? Were the arts a priority in your development?
I was born and raised in Columbus, Ohio. As a child, I would write short adventure stories inspired by the cartoons I watched. Thankfully, I feel that I always had space to pursue art.

A highlight of my childhood was attending the Young Writers Workshop at The Ohio State University and having one of my short stories published in the program’s magazine. 


When did you realize you wanted to pursue film?
In middle school, I started watching older (usually pre-1990s) films on Turner Classic Movies. One night, I watched Lawrence of Arabia (1962). I loved its epic scope combined with detailed character development. It was then that I realized more of the vast possibilities in visual storytelling. Afterward, I began devouring film reviews, film criticism, and film theory. I even started a blog with reviews of both old and new movies. 

Once I began attending Yale University, I decided to major in Film Studies. I watched movies almost every other day. It was then that I began to understand the influence cinema had on pop culture and on society as a whole. Moving images can shape people’s hearts and minds. As a result, I realized that I could make a positive impact through the films I made.



Did you feel that achieving your BA in film studies was essential to your career as a creator? 
Yes, I feel it’s essential because my B.A. in Film Studies (with a concentration in production) represents a conclusion to a chapter in my life that shapes my creative output. What I learned about film analysis, international films, film theory, and film production has been essential to my career as an independent filmmaker. It was in college where I learned film didn’t have to exist just for fun; it could be a reflection of and comment on society. In addition, in college I had my first experiences with directing, producing (to a limited extent) screenwriting, and editing. But learning about networking and building my career were both skills I learned outside of college.



Was there anyone specific who helped you on your journey as a creator?
First and foremost, my mother Patricia Thomas has been and remains a supportive force in my journey to being a filmmaker. She always made sure that I believed in my dreams and that I worked hard to achieve them. Many of the professors in the Film Studies department helped me immensely. Some of them taught me about the power of film theory and analysis, and encouraged me to watch more films from around the globe in order to develop my understanding of different cultures and different filmmaking techniques. 

Some taught me the craft of writing stories with interesting characters and compelling dialogue while others helped me develop my technical abilities as a director. From all of my professors, I learned that it was important for movies to be entertaining while also imparting meaningful messages.

What roles are you drawn to the most in production?
I’m most drawn to the roles of writer, director, and editor. I’ve found that those three roles naturally blended into one another in the creative process. As a writer, I conceive and develop the story on paper. As a director, I work with the cast and crew to realize that idea. And as an editor, I transform what was shot into a coherent idea. From my limited experience, being a writer/director/editor is the best way to achieve and maintain creative control.

On Her Film, Saturday Grace:

What is Saturday Grace about?
Saturday Grace is about loss, but also about how art, faith, and friendship can heal. It’s also about finding human connection in unexpected places. The story follows Iyana who, after losing her husband, is depressed. She has withdrawn from family and her friends at church, where she performs as a worship dancer. In a park, she meets Lilah, a homeless woman and ex-Broadway dancer. The two realize that they both dance; this commonality establishes their friendship. Iyana feels revitalized to continue with her life. And Lilah has found someone that can provide her with much-needed support.


How did the idea originate?
The idea for Saturday Grace originated over the course of 2017. One day, it hit me that two years had passed since I had produced my first short film (the award-winning Lean on Him, 2015). After working on other people’s projects for so long, I had to make something uniquely my own again. But this time around, I wanted to tell a story that wasn’t depressing.

My first short dealt with dementia and religious doubt. In addition, I had worked on shorts, features, and documentaries that tackled suicide, war, abuse, etc. I had a strong desire to create something -- especially in these times -- that could make people feel hopeful and inspired without being sentimental. So I began developing a story about Christian faith, dance, and human connection. I also drew from my experiences of growing up in a church with worship dancers, who would perform to the beat of gospel music. I wanted to depict that beautiful sight on screen. After ten drafts, I finalized the story for Saturday Grace.

What roles did you take on during production?
In preparation for the October 2018 shoot, I took on multiple roles during pre-production, production, and post-production. I took on many of these roles out of necessity since I was an independent filmmaker working with a small crew and a small budget. I was the executive producer; I self-funded the project, provided insurance, and worked with my producers, Casey Denaro and Jessica Wachtel, to arrange hiring crew members and securing rentals. I was the location scout, searching for the right park and church locations for the shoot. I was the director, working with the cast and crew to film my screenplay. I was the editor and colorist, cutting and grading in preparation for film festivals. 


Were there any challenges throughout your process?
This being my second film, I was more prepared this time around in some aspects. But I had directed my first short in college; back then, had almost unlimited and cheap/free access to equipment and personnel. After college, I had to figure out budgeting, scheduling, and collaborating. Getting the right actors was a bit of a challenge; I had to find people who could act, dance, and capture how I envisioned the main characters would be. Eventually, I hired two talented women to play as Iyana and Lilah: Natasha Walfall and Wendy Heagy. After locking the performers, I had to plan the shoot. Even after cutting the script down to 8 pages and three locations, it was still a challenge to cram my full vision into a two-day shoot. Losing daylight was a recurring issue. So was capturing all of the dance moves the choreographer, Paul Chernosky, planned and rehearsed with the actors. But we were able to film the most important parts of the film. This in large part due to the fact that the cast and crew were hard-working and professional.



What did you learn through creating this film?
Through creating Saturday Grace I became a stronger filmmaker. I learned how to make my storytelling more concise and intentional through more pre-production planning and better communication with the director of photography. Each camera movement and actors’ blocking should mean something. I also learned how to build a more realistic budget.

On Her Company, Bowman Pictures, LLC:

Why did you decide to launch Bowman Pictures?
Since 2015, I have worked as a freelance video editor and colorist. This was in addition to my working full-time jobs (some in the film/TV field, some not). I would apply to gigs on Facebook, Craigslist, and other websites that catered to freelancers. Overtime, I began expanding my portfolio with bigger projects and better-paying clients. I was able to obtain more work via word of mouth, too.

At the beginning of 2018, it was time for me to transform my side hustle into a small business via completing LLC paperwork and opening up a business bank account. This decision simplified tracking earnings and expenses. I created a visually-appealing website on WIX and updated my business cards. Having a visibly professional freelance business makes it easier to build my brand, my client base. It also serves as a way to produce my own projects, as a writer/producer/director/editor. I produced Saturday Grace under Bowman Pictures LLC.


What do you enjoy most about being the founder of a post-production services company?
What I enjoy most is having a creative outlet. It’s a great learning experience, being in charge of the creative vision and the finances of a small company. Being the founder of a small production and post-production services company keeps me on my toes.



Do you feel like there are misconceptions from the general public about being a full-time freelance creative? Some hold the idea that freelance work involves a lot of free time and doing whatever you want. From my experience, between work, scheduling, accounting, and marketing, you are working a full-time job that carries a lot of responsibilities and a lot of risks...but also a lot of rewards.



How has being a business owner shaped your creative lens?
As a business owner, you learn very quickly the importance of having a plan and a budget before moving forward. When I create something of my own, I keep in mind how it can be filmed realistically. This approach has led me to writing (and filming) character-driven stories that take place in a few locations. This means that I have to make sure the acting, dialogue, cinematography, and editing are on point because I can’t distract people with big-budget spectacle. I also learn by working on other people’s projects; I’m influenced by the direction, acting choices, and storytelling styles of other filmmakers.

On Her Workflow And Mission:

What do you value in your creative process?
What I value most is being able to have a large chunk of control over my creative process. This is due to the fact that I can and have taken lead roles in production and in post-production.



How has your workflow changed throughout your career?
I began working on projects in a messy way. I didn’t have contracts. I didn’t have a template to help structure my files. Now, I organize everything. I keep an inventory of hard drives and the files inside them. I have contracts and invoices. I schedule my projects. I use physical and digital storage to back up all of my files.


What do you hope to accomplish through your work?
Creatively, I have two main goals. First: to explore religious faith on film in a challenging way. I want to create space for a new kind of faith-based film, one which makes the viewer confront hard questions surrounding religious doubt, resilience, and human nature. All of this must be done without preachiness. Second: to depict complex women of color on screen. I want to keep creating stories about women of color with rich, complex lives. Last, I want to continue to build my profile as a filmmaker, editor, colorist, and independent business owner.



How do you choose which projects you work on?
A project has to have a combination of compelling characters, appealing imagery, and substantive storytelling, without gratuitously explicit material. It’s important to me that a project possess meaningful insights into the human condition (relationships, confronting life’s hardships, etc) and doesn’t seem exploitative. It’s a bonus if the project deals with faith.



Do you have any advice for young creatives?
Build bridges with people far and wide, not just with filmmakers. You never know where your connections will lead to. Keep on top of entertainment industry news. Take time to engage in other forms of art besides cinema; read books, visit museums. Learn how to take care of your finances. And watch movies at least every week, no matter if it’s in a theater or on your laptop.

Follow Patrice’s work to continue to support!
Facebook: https://www.facebook.com/BowmanPicturesLLC/
Twitter: https://twitter.com/bowman_pictures
Instagram: https://www.instagram.com/bowman_pictures/
Website: www.bowmanpicturesllc.com