We were lucky to catch up with Mara Lesemann recently and have shared our conversation below.

Hi Mara, thanks for joining us today. What’s been the most meaningful project you’ve worked on?

The first feature that I wrote and produced was “Surviving Family.” It’s the story of a young woman from a dysfunctional family (think alcoholism, mental illness, and suicide) who brings her fiance home to meet her family. In the week before they get married, she learns the truth about her mother’s death, her father’s life, and the half sister she never knew she had.

Surviving Family is NOT a true story, but it’s inspired by the families of my mother and my oldest friend.

I produced the movie under the SAG ultra-low budget contract, but was able to put together an outstanding cast that includes Billy Magnussen (No Time to Die, Game Night), Tara Westwood (The Grudge, Triggered), and the late, great Phyllis Somerville (Little Children, The Curious Case of Benjamin Button). It made its festival debut in 2014, won numerous awards, and is available on Apple TV, TubiTV, the Roku Channel, and numerous other streamers.

I learned something from making Surviving Family that will stay with me forever: the number of people who are impacted by alcoholism and mental illness is far higher than I ever realized. It has been extraordinarily rewarding to hear from people who tell me how much the movie’s portrayal of these people and issues mean to them. The story has an intentionally open ending, because life isn’t tied up neatly with a red ribbon – as much as we wish it were.

Awesome – so before we get into the rest of our questions, can you briefly introduce yourself to our readers.

My husband, Carlo Fiorletta, has been an actor longer than I’ve been a writer. When we met, we both lived in Jersey City, NJ (right outside NYC) and commuted into Manhattan for our jobs in finance. I went with him to quite a few off-off-Broadway plays in “black box” theaters – small spaces that produce low or no budget plays with minimal scenery or props. After attending a dozen or so such performances, I gave him my verdict: the actors ranged from very good to excellent, but the (unknown) plays they usually appeared in were terrible. I quickly figured out that the aspiring actors were desperate for the opportunity to perform, so they often wrote something themselves. This meant they didn’t need to pay for the rights – but they weren’t very good writers..

After I complained about this several times, Carlo gave me a response that he may have come to regret over the subsequent years: if you think you can do better, write something yourself. I could. I did. And I still do.

My first produced one act play was called “Bermuda Triangle.” It was put up by Love Creek Productions and was inspired by a couple who lived above us in a two family house, It was cute and funny. It also premiered less than a week after the 9/11 terror attacks.

It’s hard to explain what it was like then in midtown Manhattan. We were all petrified that another attack was imminent. But we needed to get out. To do something “normal.” And we needed to laugh. When I heard an audience of strangers laugh in all the right places at this craziest of moments, I was hooked.

I wrote and produced several other one acts and one full-length play. But I eventually decided that the only people who make money in theater are the guys who own the buildings. So I decided to learn screenwriting – which I did with great joy at New York’s New School University.

I wrote and produced several short movies before I made my first feature, “Surviving Family,” which I discussed a bit earlier.

My second feature is a father/daughter road-trip comedy called DETOURS, released in 2016. Actress Tara Westwood, who had a major supporting role in Surviving Family, stars and produced with me. My husband plays her dad. And the amazing supporting actors include Paul Sorvino and Richard Kind. The movie is streaming on Amazon FreeVee, Tubi TV, the Roku Channel, and many other services.

After making two features within a few years, I’ve focused for the past few years on working as a ghostwriter and script consultant. This gives me the opportunity to help aspiring writers improve their screenplays and provides me with a steady income.

I’m currently working once again with Tara Westwood, who made her directorial debut earlier this year with the award-winning short “Triggered,” which looks at the issue of gun violence in the U.S. We’re co-writing and producing an as yet untitled feature, which she’ll direct. The subject is medically assisted suicide, which will be placed within the story of a loving but troubled family – because I LOVE writing about the messy families that make up our lives.

We’d love to hear a story of resilience from your journey.

My first feature, “Surviving Family,” was directed by Laura Thies. She had previously directed two of my short movies, was the cinematographer on a third, and acted in a short play that I wrote. We worked well together and I trusted her implicitly. I asked her to direct my second feature, “Detours,” and she agreed enthusiastically.

Laura is from Germany. Her visa was expiring, so she went home (as legally required) and we began the process of applying for permission for her to return to the US for six months to work on the movie. She compiled hundreds of pages of recommendations, awards, commendations, and samples of her work. I put together my explanation of the job and the reason why she was the best person for the job, as well as assurances that she would return home at the conclusion of the project. We were confident that she would be approved.

We received the notification that her visa had been denied three months before we were scheduled to start shooting. The cast and financing were in place but we couldn’t do anything without a director. In theory we could appeal, but it would take too long so we agreed I’d find someone else. But that’s easier said than done.

Detours is a road trip movie and incorporates an actual drive from NYC to Tampa, Florida. I needed a director with at least one feature under their belt who could work with top level actors (including two TONY award winners), who was available on short notice and would work on our (very low) budget.

Responses from potential directors ranged from “could you do it next year instead?” to “you’re paying HOW MUCH?!” Tara Westwood, who was both a lead in the movie and a producer, joined me in a long list of meetings with prospects who ranged from adequate to simply not a fit.

We ultimately met with Rob McCaskill, a writer, director, and acting coach who Tara has worked with for years – and we had our match. He did an outstanding job under stressful conditions. He made a different movie than Laura would have made, but I love Detours and am VERY glad that he directed. And I’m both happy and proud that we didn’t give up.

And Laura? She’s building a terrific career as a television director in Germany – and I still hope to work with her again.

For you, what’s the most rewarding aspect of being a creative?

I love telling stories about families – the good, the bad, and the lies. My movies deal with alcoholism, mental illness, divorce, death, finding new partners, and making new starts. And I absolutely love seeing how many people – those I know and those I’ve never met – relate to these stories and characters. It’s truly the most rewarding thing about what I do.

Contact Info:

• Website: www.maralesemann.com
• Instagram: https://www.instagram.com/maralesemann/
• Linkedin: https://www.linkedin.com/in/maralesemann/
• Other: https://www.detoursfeaturefilm.com/ https://www.survivingfamily.us/