Interview: Leap And Soar Director Denzel Vazquez On Death, Grief, & Healing

Leap and Soar is a 16-minute long short film that tells the story of Daniel, Derek, their mother, and Nora (Daniel’s girlfriend). They share a deep bond and cherish each other’s company. But one day, tragedy strikes, and Derek is ripped out of their lives. While Daniel manages to open up to Nora about what he is truly experiencing, he seems to be drifting away from his mother because he’s unable to figure out what he should say to her. The saddest part is that Daniel’s mother has no one but Daniel to share her grief with; and Daniel shutting her out of his life only exacerbates her pain. Whether or not the mother and son will be able to bridge the void in their life is what forms the crux of the narrative. During my virtual chat with writer-director-producer Denzel Vazquez, we talked about how his short film dealt with grief, death, healing, and more.

Film Fugitives: What was the thought process behind opening Leap and Soar with the beach scene?

Denzel: This is a good question and I get this a lot from my friends. I wanted to start the film with something dynamic and physical; something I could contrast with the rest of the film, but at the same time I wanted to present this phase of the family in a manner which was rawer and less polished than the rest of their memories. I also wanted a moment in their lives which could be labeled as their “last time together”; like the last day of summer before the storm.

FF: Some of the moments where you switch between life before Derek’s death and the life after Derek’s death is punctuated by a montage. How did you choose that particular set of visuals from that transitional point in the plot?

Denzel: Me and my cinematographer, Diego Aldana, were debating on how to make use of the past, to make it feel real, even more real than the present. There is something tangible in using analog and old digital formats. Since the film already had this mixed media style with the first montage, using another montage shot in like a documentary style with this new media just felt right. And when it feels right, you go for it without question.

FF: Leap and Soar has repeated the use of Daniel and his mom reminiscing about Derek through these short videos in which he’s present. With the increase of people recording themselves & their loved ones, do you think videography can be a good tool for coping after loss or do you think it keeps us from moving on?

Denzel: This is one of the questions I wanted to explore with this film. For the longest time I was afraid of feeling, feeling too much, opening a video, photo, and not wanting to go back to that moment and remember. I would keep those memories in this void, a limbo. Little did I know I was keeping myself shut from growth. Life blesses us, life gives us “limited” time with these people that loved us and cared for us, people that at the time we also cared for and loved them back. Shutting myself from those memories was denying what life had given me.

FF: Nora and Daniel have a Golden Hour scene. Was it difficult to shoot that or was it a walk in the park?

Denzel: That was the first scene to shoot during the 4 days of production. That was the only scene that we could not properly prepare for, due to location and logistic issues. That’s why we arrived 4 hours early, so we can block and be ready for the sunset. During the scene, the acting didn’t feel quite right, so we kept trying different things, but nothing worked. 1 hour and a half in we finished the scene and being the first scene to shoot, I was so sad because I didn’t like it. Having 20 min of sunlight left, Diego and I looked at each other and said, “Let’s do the scene again Chivo style, Y tu mama tambien.” So, we went down by the water and reshot the whole scene, only 1 take, and that is the take we used for the film.

FF: Daniel and his mom’s rooms have so much personality to it. What was the process of fine-tuning the look and feel of their personal spaces?

Denzel: Me and Mauricio Tamez, my production designer, were in constant communication for like 4 months regarding how we wanted to dress and how to add soul to space. We both grew up watching Malcolm in the Middle; so that was a huge inspiration. Also, some of the rehearsals included playing with specific objects or crafts the actors did to prepare for the role; so, we made sure to bring those elements, as mise-en-scène. 

FF: Did you always plan to have Daniel reconcile with his mother at the end? Or did you have any alternative, bleaker conclusions to their plot in mind?

Denzel: I always knew I wanted the film to end with a gesture towards reconciliation; even if it is not a complete one. The film was less about overcoming grief but learning how to live alongside it. I did explore other endings, some darker than other ones, but I never wanted the feeling to be hopeless or drowning in sorrow; the possibility of connection was always there for me.

FF: What was the thought process behind concluding your short film with that conversation between Nora and Daniel?

Denzel: Nora is an angel on earth for Daniel, is his support system, is what brings him perspective and keeps him grounded. Nora and Daniel represent a natural conversation that remained unspoken during the film. Their conversation allowed me to make the shift from silence to conversation, a conversation that opens the door for connection.  

FF: Most of the vignettes are parts of a bigger sequence. But there’s a moment from the diner that isn’t a part of a bigger scene. So, did you shoot a scene in that diner, and it didn’t make it to the final cut? Or did you always intend to use that bit for the montage?

Denzel: Yes, I was so sad to not include the diner scene. It was a whole scene, half day, money, permits, logistics, and crew that we could have saved the time and money, but I did not know at the time. The scene on the final cut felt redundant, jarring, so it was best to take it out. 

FF: Daniel’s look changes very drastically to depict the passage of time; which is something that I have rarely seen short films do largely because of time and budget constraints. So, how did you convince Nick Smoljanovic to commit to this transformation?

Denzel: He is a very close friend of mine, and I am grateful to him for committing to this journey with me. I’m glad he was on with the idea, otherwise it would not have worked. We prepped for 6 months, so he didn’t shave or cut his hair for 6 months. We shot Leap and Soar in 4 days, so for the first 2 days, we did the present-day scenes, then in the last 2 days, we trimmed it all (for the flashback scenes). I am so grateful in general to work with people who I trust and they trust me back; thanks to them every creative conversation was easy.

FF: What’s the meaning behind the title of your film: Leap and Soar?

Denzel: There are moments in life where we feel like falling, only to rebuild ourselves and find ourselves falling again. There is a quote from Kurt Vonnegut I deeply resonate with: “We have to continually be jumping off cliffs and developing our wings on the way down.” One cannot grow wings unless you are willing to take the leap first. Leap and Soar represent the decision to grow and take ownership from the circumstances that were given to you by life. One of the biggest acts of faith.