Abandoned Buildings writer and director Benji Otte speaks about his new film, his process and the future he hopes for the industry
Abandoned Buildings is a drama following Kyra and her friends as they explore forgotten structures throughout the country. As they explore the sites, Kyra confronts her own past while trying to move forward with the others.
Is this film about leaving home, or staying?
When I was younger, I was terrified of being stuck in the same small town for my whole life. People can have that kind of life and have it be fulfilling, but it was a choice of life that made me feel like I won’t progress. So I rushed to get out of my hometown and get to a place where you can see something drastically different every day. I learned more about life and how to carry myself, but I felt like something was still missing. It took me a while, but I realized that because I rushed to move away from home and not take in my surroundings more meaningly I had missed out on so much. When you have your blinders on to keep focused on a specific goal, you can forget what’s important and what’s gotten you to where you are today. Now I visit home any chance I get to take in the loved ones and nature, but I also have plans on visiting places I haven’t been before. Abandoned Buildings was created from this idea and feeling, so it’s definitely about leaving home, but not forgetting how home has shaped you.
What is Kyra searching for?
She’s searching for her future by returning to her past. She feels like she’s stumbled and lost her way, so she’s looking for the reason why she went off path and how to get back on track.
Do you think buildings are ever truly abandoned?
I don’t think anything really is ever abandoned. There’s always going to be a purpose for things that are left behind. An abandoned structure might not have any person living in it to upkeep it, but imagine an animal is looking for shelter on a cold night and stumbles upon that place. Past that, you see buildings that have been abandoned for years and years, and you see it overgrown with leaves and plants; now those walls and floors are home to that greenery. Explorers could visit these sites and continue their journey, just as others had done in another time. Nothing is ever really abandoned; something is going to occupy the vacancy in one way or another.
Which character do you identify with most?
They all take parts from me; you can’t really write characters that you have no connection with. They’re all dealing with struggles that I’ve dealt with and have hopes that I’ve had before. I really relate to Kyra because she’s somebody who has let life pass by her these last few years, and she’s waking up from that trance, and she knows there’s more to life than just going to and from work. I relate to all the other friends as well; Wren has my love for history, George has my past need for moving away to a new life, and Bernie has my joking exterior to protect a more sensitive interior.
How did shooting in real abandoned spaces affect the performances?
For most of the crew and all of the cast, the day we spent at the abandoned building was the first time they had seen the structure. When they first saw it, you could tell it held their attention not only because they’re figuring out how to adapt their performance to this new environment but also because it felt like a mythical space they were finding for the first time. I had been there a few times to scout and plan with the officials on the island before filming, and I remember driving on a dirt road through the forest that opens up to this beautiful open field, and then finally the house. It really felt like it was ripped out of a fable, how this house that was still mostly intact was just in the middle of an island in southern Maine. Filming on the island, you could tell there was just something extra in the air that we took in every moment. It elevated the actors’ performances because, like their characters, they were exploring this building for the first time too.
What was the most fun scene to shoot?
I’m not going to spoil anything, but there were points from each actor that really delivered powerful moments. For a specific scene, our lead, Kalala, performed a monologue on the final day of filming, and after we were done with the first take, I had to take a second to process what happened, and when I watched the final cut, I began to cry. For me, the most fun I can have on a set is that moment where it’s confirmed that you know the project is going to be special and have a purpose; filming that scene confirmed that for me. Throughout the whole filming process, I knew it was going to be a great project because of the team we had and how the elements were providing us moments to keep the energy going, but filming that particular scene sealed the deal.
How does shooting on location affect your work?
I’m a very visual person; if I were filming on a sound stage with a green screen or a facade set, I could make do no problem, but there would be a disconnect of feeling. When I’m actually on location with the wind blowing, the smell of fresh air, I can feel the dirt soften under my shoes with each step, I’m more in it. It helps with actors a great deal, too; they’ll give you a convincing performance if they’re talking to a tennis ball while on a green screen, but you cultivate a different experience having them act in a real environment. As independent filmmakers, we often ask family and friends for favors in using their houses for locations. There have been times when the hosts of the locations ask if we need anything in between takes; they make you feel right at home while working long days. Even filming in a small town that doesn’t get a lot of attention, many times they’ll have open arms, ask how they can help, and want to be a part of the creation process. You can feel the authenticity when it’s shot on location.
What responsibility do filmmakers have when portraying rural spaces?
Growing up in a rural town where most folks are honest, hard-working people who are making sure they provide enough for their children and community, I always wanted to put them in the accurate and respectful light they deserve. While I can relate to most stories regardless of class status, I find stories about the underrepresented and working-class people a lot more interesting because I come from those struggles. When I write stories from that perspective, I see both of my parents, who worked endless hours each week to provide, and I see family members who have to recover from unexpected losses, friends finding ways to make ends meet, and the spirit that keeps them going in hopes of a better tomorrow. We need more stories of people with this hopeful and persistent determination to create a better living environment for everyone.
What was it like jumping back in the director’s chair after being away for an extended period?
Getting back to directing a narrative project felt like coming home. I spent around 2 years being caught up in a new lifestyle, and I felt disconnected from being a part of something bigger than myself. It took a minute for me to get back into the rhythm of scheduling and planning everything out, but it’s muscle memory once you feel the flow of it all again. My mind shifted into a mode that it hadn’t been in a while. It’s honestly like when the turtle from Finding Nemo goes into that water current, everything falls into place, and you become one with the process. I missed it for sure.
How has your process changed over the years with directing and producing projects?
Each project is a learning lesson in how to be a better producer, director, and collaborator. I didn’t seriously start making movies until 2021, and even then, it was a miracle I was even able to complete filming, as any movie is. Shot lists were made the night before, not enough prep was made beforehand, scheduling filming days on the fly, these faults were mine alone, and I’ve thankfully learned from them. With these lessons learned, I've become more thoughtful throughout the whole process and have made each decision with intention rather than convenience. I’ve also been able to rely on great help from my producing partners, Michaella and Chad; without them, I wouldn’t have anything more than a script written.
Things are constantly moving on a film set. How did you keep things moving and calm?
I have my team to thank for that. Any moments things weren’t going smoothly, they instantly asked what they could do and took action on it. Everyone communicated efficiently with each other, and it showed. We had anywhere from 70-80 shots to film, and we maybe had to cut 6 or 7 of them for timing, which is not common; it’s normally more. But that’s just a testament to how well the team planned and how easy they were to work with. In terms of keeping my own cool in stressful moments, which thankfully weren’t too many because I get really quiet and try to figure out the solution on my own, I looked to my producer Chad and Assistant Director Chris for help. Also, listening to either Dijon or Olivia Dean on set in between takes helps.
How important is it to have producing partners that you’re familiar with?
It makes all the difference, especially having known them for years now. I can be open about ideas, and they’ll be honest with me if they work or not. Even just discussing the process and the difficulties of being stumped for ideas and navigating finding time for projects outside of day jobs helps immensely. Every accomplishment that I have with film is shared with them, and any accomplishments they have, I’m there to support and root for them until the end. Working with them makes me excited to create more films.
Why tell this story as a short instead of a feature?
You can figure out a lot of aspects of a story by producing a shortened version of it. We set out to make this film to help better understand the world of Abandoned Buildings and where we could take it through a feature-length version. There’s a lot more we want to explore in this world, and we hope people want to explore with us.
What conversations do you hope festival audiences will have after viewing the film?
Why do we abandon things? What’s keeping us away from restoring them? What are the problems that are dividing us and separating us from our common goals, and how can we move forward as a collective? Team George or Team Bernie?
How do you feel about filmmaking in the age of social media?
I think there are a lot of good things that come from social media in terms of connecting filmmakers and practicing the craft. You get to network without having to go to festivals, which you might not have the funds for, share work in seconds, give constructive feedback, and plan for future collaborations. I feel like if you don’t identify your goals and intentions before you create, that’s when social media can become a problem for filmmakers. I’ve seen creators film for the sake of posting something and getting views because it gives them some dopamine, and receiving that kind of attention doesn’t last any longer than a couple of minutes. You also get filmmakers who see other creators’ pages that get lots of views from posting their work in their own style, so they’ll try to emulate the same without any artistic intention behind it or making it their own. We need to have filmmakers keep on practicing their craft and posting it for constructive feedback or just for fun, but if there’s no intention behind the art, then it’s just noise.
Did this project spark any collaborations you’d be eager to revisit?
It’s essential to continue connecting with new filmmakers and exploring how we can support each other in storytelling. However, the team I had on this project was a group that made me excited to come to the set and spend the whole day running around trying to create something special. We had some younger guys who brought an enthusiastic energy to the set, veteran crew members who could create an atmosphere beyond belief, and a cast that was so open and honest in their performances. Everyone worked really well together and brought their own distinct vibe to the set. I’d be lucky to work with any of them again.
There are constant waves and changes in what kind of projects are produced. What’s the next slate of projects you’d like to see made?
Everyone’s coming from different places to make their perspective heard, and we need plenty of that, so I’m really hoping to see more underrepresented stories being produced. I want to see stories that bring a lot of hope, but also examine the problems of today and show us possible solutions. I want to see filmmakers really hone their craft, be selective about the quality of the story they produce, and create some really memorable movies that only they could make.
What’s next for you?
There are a few pieces that I’m working on, not sure which one is first, but there’s a crime thriller, horror, and coming-of-age being cooked up. I think what’s most important for me right now is connecting with filmmakers. I’m looking to connect with storytellers who are ready to tell ambitious stories with meaningful causes and individuals who are looking to tell stories for storytelling, not notoriety. Filmmaking is about sharing messages in hopes of connecting and paving the way for the next generation of storytellers to tell their tale.
