So Long, My Friend: An Interview with Xiaoxing Chen

Please start by telling us a bit about yourself. How did you become interested in cinema, and how did you learn filmmaking?

I always liked movie theatres when I was a teenager. I would go watch movies alone, which my family and friends don’t quite understand. When it comes to choosing a major for college, I chose Journalism and New Media because they teach how to edit a video. And yes, among all the classes, I realized I was only interested in filming and editing. I wasn’t satisfied with where I was because I wanted to learn more about filmmaking. I wanted to go to a film school for my Master’s. After making the decision, I needed an application portfolio, so I started to learn about writing scripts and filmmaking from both internet videos and books.

How did the idea for So Long, My Friend come about? Once an idea comes to you, how long does it take to develop it? Did you share the idea with anyone during the development process? And how many drafts of the screenplay did you write before reaching the final version?

It was more like a coincidence. At the end of my first semester in my graduate program, I spent a few weeks thinking about what I should do for my first-year film, but I wasn’t satisfied with the two scripts I wrote. Then, on Christmas Day, I had to leave New York to go on the trip. Journaling in JFK airport made me realize I need to make a film about this, which has been bothering me for the whole second half of 2023.

So, from having the idea of making it to shooting at the end of March 2024, it was about 3 months. I shared everything since the trip with my best friend Margarita Mina, who is also the DP and co-producer of my film. I revised 8 drafts in total.

If you were to describe the main theme of So Long, My Friend, what would it be?

It’s about learning to accept things that don’t always go the way we expected.

What do you think was the most challenging part of making So Long, My Friend?

Since it’s a personal story, it was really traumatizing at the beginning to write the script for me. Even though I had a clear idea of how the whole story would start and end, I felt like it was more of a journal than a script. I kept questioning my project and myself. I cried and cried so much since writing the script, to wrap the film, and to post-production.

The film begins with the sound of a trumpet. What connection do you see between jazz music and the film's atmosphere?

I think Jazz always gives me a feeling of both joy and sadness. It could be subtle and ambiguous, which fits the tone of this story.

How did you find your actors? From the very beginning, we immediately connect with Kimi Handa Brown's face. How much did you rehearse with her to shape the character?

(Kimi’s pronouns: they/them) I found the actors on casting platforms Breakdown Express and Backstage. Kimi caught my eye immediately when I saw their reels. I did auditions with them, but I was pretty sure they would be a good fit even before that. After that, we did an online reading and an in-person rehearsal. Kimi is a very smart and precise actor. So most of the time, we would talk through the characters' wants, personalities, and background stories to shape the big direction. With only a few notes, I will get what I want pretty quickly.

What do you think are the most important characteristics of your characters?

I think both Enid and Roy are brave people.

Do you see making short films as a path to making a feature-length film?

Sometimes yes, but I think most of the time they have individual paths.

What was the audience's reaction to So Long, My Friend?

We had a cast and crew screening for school, some people told me the ending hurts; they choked at the end.

Finally, if there's anything else you'd like to mention, we would be happy to hear it.

I’m glad I made this film.