Not realizing, and learning to appreciate, that the most beneficial thing in your life, makes all of your goals, accomplishments and emotions worthwhile, is often an agonizing mistake that young adults make as they’re trying to create a fulfilling life for themselves. But the process of realizing that you made an error in your decision about how to best handle your personal and professional relationships and ambitions, and taking whatever means necessary to correct your oversight, can be an even more important process in achieving what you want. That powerful exploration and process of atoning for your sins is grippingly showcased in Mel Rodriguez’s writing and directorial feature film debut, ‘In Stereo.’ The independent romantic comedy-drama, which is now playing in select theaters and on such VOD platforms as Google Play and VUDU, and which the filmmaker also edited, enthralling proves that no matter how much you drive to push the people and things that mean the most to you away, the more you’ll eventually come to be grateful for how important they truly are to you.

‘In Stereo’ follows the unraveling lives of a couple, David (Micah Hauptman) and Brenda (Beau Garrett), who were at their happiest with each other, but refuse to admit they made a mistake when they ended their romantic relationship. The story, which is split into three sections: David, Brenda and then David and Brenda, begins when the two go through a painful break-up. Unable to admit that they’re happier when they’re together, they have both tried to move on, but 18 months later, they’re both in a worse emotional state.

The self-destructive David, who’s preparing to open his first photography exhibit, becomes even more disillusioned when he discovers that his latest girlfriend, who bears a strong resemblance to Brenda, has been having an affair with his best friend. Brenda’s in an equally bad situation, as she’s contending with her failing acting career, has received an eviction notice and her current boyfriend doesn’t take care of her. But after she and David brought back together on the streets of New York, he invites her to his exhibit. After the two spend the night talking, they try to find a way to spend time together, with actually becoming a couple again.

Rodriguez generously took the time recently to talk about making his feature film writing and directorial debuts n, as well as editing, ‘In Stereo’ over the phone during an exclusive interview. Among other things, the filmmaker discussed how when he decided to write and direct ‘In Stereo’ as his first feature film, he was influenced by Woody Allen and Mike Nichols movies about the struggles young adults go through, as well as films of the late 1960s and early ’70s, whose structure jumps around in time; how he decided to cast Hauptman and Garrett in the comedy-drama’s lead roles, as it’s important to make sure that the main actors and director agree on the tone and ideals of the movie, and both had great instincts about how they waned to portray David and Brenda; and how he enjoyed filming the movie independently on location in New York City, as it helped build a strong sense of community between the cast and crew, as they diligently worked together to do whatever was needed to make sure they were able to create the story they wanted with the resources they had.

ShockYa (SY): You made your feature film writing debut the new comedy-drama, ‘In Stereo,’ after you penned several short movies. The feature follows David and Brenda, who are perfect for each other and everyone knows it, except them. What was you inspiration in penning a screenplay about two people who make the perfect couple, but only find their way back to each other in the worst possible time?

Mel Rodriguez (MR): Part of the idea came from the necessity of wanting to make a movie. (laughs) As an independent filmmaker, you end up wanting to work so badly on something. But you know that you’re going to end up making something for very little money, which what you have to do when you make your first feature.

I had been on a kick of Woody Allen and Mike Nichols movies at the time I wrote the script for this film. I was watching, and enjoying, movies about people who are going through their 20s and 30s. I was watching these films during my cinema education, which wasn’t formal at all. It wasn’t like film school-I was watching a lot of movies, and going to film festivals in Austin. I appreciated that you can tell a story with just some actors and a good story and writing.

I became so desperate to make something that I started writing. I created an interesting group of characters who were always getting into trouble. They were dating the wrong people.

I was a musician in Austin, so I was always around dynamic people who were always experimenting and find their way. They were also trying to figure out what kinds of artists they wanted to be, as I was involved in a very creative community that thrived on music and film.

A friend of mine had asked me to write a monologue for him for an acting class, so I wrote a version of the monologue that Brenda gives on her Podcast. So then I realized that I had a great character. I started looking around at what was going on with me and my friends, and everyone was trying to deal with these existential problems they had. There was a lot of great material to combine comedy into, so I started to create some scenarios.

I was very much influenced by the films of the late 1960s and early ’70s, as I like the way they’re structured. I also like how novels jump around in time, so that’s where the structure for the movie comes from. So I wanted to make a small movie that didn’t have a lot of big, expensive sets, and instead looked at my life, and the lives of my friends, to do so.

SY: Besides writing the script, you also made your feature film directorial debut with the movie, like you mentioned, after you penned and helmed several short films. How did writing the screenplay for ‘In Stereo’ influence the way you approached directing the comedy-drama, especially as a first-time feature filmmaker?

MR: Yes, very much so. I wrote the script awhile ago, and decided to trust my own instincts as a filmmaker. I was getting closer to making another movie for my first feature, before I decided to make ‘In Stereo.’

I had previously made some short films back in Austin, including the ‘In Stereo’ short, but not really on a professional level. I got some really good actors to be in those shorts, especially once I moved to L.A. Once you live in L.A., it’s a lot easier to reach out to actors, particularly on social media.

I connected with a couple of actors, like Anson Mount (who appeared in the ‘In Stereo’ short), who’s now the lead on AMC’s ‘Hell on Wheels.’ I also cast Ian Gomez, who was in ‘Cougar Town.’ So I got some pretty good people for my first short film in L.A.

Once the actors were cast in the feature, I wanted to devise the story in a way that was interesting. I played around with split screens, as well the structure of non-linear story-telling in chapters. There was the David chapter, the Brenda chapter and then the David and Brenda chapter.

I’m more interested in movies that have that playfulness in their stories, so I wrote it that way. So the film you see is pretty much the one that was on the page. Everything from the split screens, the non-linear sequences and the chapters were in the script.

When you’re on set, it’s hard to think that way, because everything’s jumbled up. You don’t really shoot in order, so you have to be really organized. I had a great DP (Director of Photography, Bryan Koss), and we had to make sure we got all of our shots and sequences.

By getting all the shots that I wanted, I knew I would be able to edit the movie the way I wanted to during post (production). It’s always nice to have the editor on set with you while you’re shooting. Since I also served as the editor on the film, I was able to occasionally put that hat on while we were filming. I would be able to think, we’re going to do this complicated sequence, and I think I have it all. I would be able to keep my eye on each scene as the director and editor, so that everything could come together.

SY: Speaking of casting actors, with the film’s story focusing on the struggles in David and Brenda’s romantic relationship, what was the process of casting Micah Hauptman and Beau Garrett in the roles?

MR: I was in Los Angeles when we started to cast the film, because we initially thought we were going to shoot it there. But certain circumstances changed, so we were able to shoot it in New York.

The casting process started with Beau, who we found in L.A. She was on my list of actresses who I have been watching, and who I thought were better than the projects they have been working on. I have seen TV episodes that Beau had done, and knew she was good, but that wasn’t being tapped into.

So I said, “Let’s reach out to her,” as we had some connections to her manager. They were really kind and read the script very quickly, in one day. Beau got back to me and said she wanted to speak with me about it. We met two days after she read it, and had a great meeting about it.

It’s really important to make sure that you’re making the same movie as your lead actors, and they’re on the same page as you, in terms of the tone and ideals of the movie. She had great instincts, and started talking about some things in her own life that she has gone through in her relationships. She also talked about some problems she has gone through as an actress.

After we cast Beau, we moved to New York. We started to have casting sessions for actors, but they weren’t completely understanding the role, which straddles comedy and angst. Micah’s manager was really interested in us speaking to him, and sent us some videos of him. I could tell right away I could work with him on the film.

So we met, and he was really interested in playing the role, as he was looking to do a movie like this. We had such a great talk that I didn’t even read him. After about an hour-and-a-half, I thought we were on the same page, so I offered him the role.

SY: Once Micah and Beau were cast in the main roles in ‘In Stereo,’ were you able to have any rehearsal time with them, in order to build their characters’ backstories and relationship?

MR: No, we actually didn’t have a lot of time, as Micah was shooting (the drama thriller,) ‘Everest,’ so he was flying back and forth to Italy. We actually had to push our shoot back one week to accommodate his schedule, as I was really adamant about having him play this role.

He had to go back to Italy to shoot a few more scenes for this $100 million movie, and then get right back on a plane to dive into this character. So he had very little time to prepare for this role. I’m still amazed at how well he did with this role in the little time that he had to prepare. We would shoot for an entire day, and then he would go home and prepare for the next day’s scenes.

We did have a few hours over the course of a couple days to get the scenes together with everybody. Once Micah got to town, I put him in a room with Beau, s that they could get to know each other. Everyone who has seen the film and liked it has said that the chemistry between the two of them is really realistic. We got lucky with that as we were casting for the film. While we didn’t have much time to rehearse together, we did create an environment where everyone could do what they want to do, and allow their natural qualities to come out.

SY: Like you mentioned, you shoot the comedy-drama independently in New York City. Since ‘In Stereo’ mainly explores the strained relationship between David and Brenda, what was the process of filming the movie independently on location? How did it influence the creative process of building the characters and the story?

MR: Shooting in New York was really great in creating those sense of community. You’re really out there with the people. (laughs) We couldn’t really keep them away when we were shooting, as we weren’t allowed to block off the streets-we weren’t the kind of production that could block off the streets. So we were out there with our cameras, and were trying to make as small of a footprint as we could.

But being on location always brings a different energy-you always feel like you’re in camp. You’re away from home and the people you know. Micah and I would get together at night, and talk about the next day’s shoot.

The producers and I were actually living together in the same apartment. I brought my core six crew members from L.A. with me to New York to facilitate the production. We had to work around the clock together to make sure we were able to do this. We had to make sure we had the next scene ready to go as we were shooting the first scene.

While it was constant work, it was fun work. It felt like the days when I was shooting my short films in Austin. We were friends who were having fun as we were running around town getting our shots. Since we were a low-budget film, we didn’t have a lot of resources.

We made our apartment into our casting and production offices. We also used it as the actual apartment in the film-we just moved all of the furniture out of the way, in order to make it look like an empty apartment that the characters are looking at. Those are the types of things you have to do on small budgets.

SY: The film is (currently playing) in select theaters nationwide and on VOD. Why do you think the On Demand platform is beneficial to independent movies like this one?

MR: I am a fan of watching movies on VOD. I’m as guilty as the next person of not wanting to get up to see a movie in a theater. I understand that people are tired at the end of the day, and don’t want to go to the theater. But I do love the cinema enough that I do still go to the theater, just not as often. So VOD has become more convenient, as you can just download a movie. So I am a fan of it, and do think it’s a positive thing.

The DVD industry is what used to help the independent film world, and allow distributors make their money back on these films. That medium is pretty much gone now, and the VOD platform is taking over. So VOD is a nice option now to be able to present to investors and distributors at studios. You can say that with the VOD market, a film can now be in 50 million households right away, instead of only playing in 10, 20 or even 100 theaters. So it’s very valuable for independent filmmakers to be on such outlets as iTunes, Amazon and Google Play.

SY: Like with several of the short films you wrote and directed, you also edited ‘In Stereo,’ like you mentioned earlier. How did your duties as the scribe and helmer on the feature influence the way you approached editing the film?

MR: It actually works backwards, as I have edited other projects before working on this one. You learn how to put things together by seeing the mistakes that other directors make. So when you become a director yourself, you can call on what you have learned, and be ready to face those same problems on set. You can know how to avoid them, which is a very valuable way to make films.

Making the short film also helped me to make the feature. People seemed to have liked it, and I like it. I learned how to trust my own instincts after making the short film. I used a lot of the same techniques on the feature that I did on the short. So having written, directed and edited the short, and going into making the feature with the mentality that I liked the short, really allowed me to feel confident in my choices on the feature. Having done those things on the short helped me realize that I could put everything together with my DP and producers for the feature. Serving as the director on the set allowed me to really facilitate my editing style.

Written by: Karen Benardello