How Filmmaker Claire de Vries is Redefining Female Narratives in Cinema
Table of Contents
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About Claire de Vries
The Inspiration Behind "We're Not the Same"
From Script to Screen: The Creative Process
Working with an All-Female Crew
The Art of Intentional Filmmaking
Breaking Into the Film Industry
What's Next for Claire de Vries
Memorable Quotes from the Episode
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About Claire de Vries:
Recent honors graduate from the University of Michigan's Film, Television and Media program
Led Imagination Films, one of the most active student-run production groups in the country
Winner of the Frank and Gale Beaver Award (Hopwood Award) for scriptwriting
Produced approximately eight short films during her time at Michigan
Director, producer, and writer of the psychological thriller "We're Not the Same"
The Inspiration Behind "We're Not the Same"
Claire de Vries's journey to creating her award-winning psychological thriller began in an unexpected place: a film theory classroom at the University of Michigan. While watching Alfred Hitchcock's "Vertigo," widely regarded as one of the greatest films of all time, Claire experienced a moment of creative frustration that would shape her entire thesis project.
"I remember just kind of feeling so frustrated by that film," Claire explains. "The women characters in that film had like no autonomy and they were just so objectified." Rather than simply critiquing the classic, Claire decided to channel that frustration into action, creating a film that would subvert those very tropes.
The concept was clear from the start: take the psychological thriller elements that make films like "Vertigo" compelling—the tension, the obsession, the carefully crafted suspense—but flip the narrative. "Let's make a film with this kind of similar aspects of like the psychological thriller and like, and this intention, but then kind of change that and make it written by women for women."
Personal Experience Meets Universal Themes
The film's exploration of sisterhood and comparison stems from Claire's own experiences growing up with an older sister. Both were involved in competitive horseback riding, constantly being compared to one another. "I remember that feeling of never feeling enough and always wanting to be better or wanting to be like her," Claire recalls. This deeply personal experience became the emotional foundation for "We're Not the Same."
The film centers on Mia, a young woman who discovers she has a half-sister and becomes increasingly obsessed with her, eventually stalking her. The story explores the complex dynamics of sisterhood, identity, and the comparisons that women constantly face in society. By making the protagonists half-sisters who meet serendipitously on a college campus, Claire created a narrative that resonates with anyone who has struggled with feelings of inadequacy or the pressure to measure up to others.
From Script to Screen: The Creative Process
Creating "We're Not the Same" was an ambitious year-and-a-half journey that tested Claire's skills as a writer, director, and producer. With the guidance of two University of Michigan professors, David Merrick and Jim Bernstein, who served as her honors advisors, Claire embarked on what would become one of the most formative experiences of her young career.
The Writing Phase
The scriptwriting process began in the summer of 2024, during a particularly demanding time—Claire was simultaneously interning at HBO Max. Despite her busy schedule, she carved out time to bring her vision to life. "I sat down and started writing in the idea and it just kind of came out, like all those things kind of came out on the page."
The script went through approximately ten drafts over the summer, each iteration refining the story, characters, and themes. This intensive revision process is a testament to Claire's commitment to the craft and her willingness to push her work to the next level. Notably, Claire considers writing her "weakest skill," making her win of the Frank and Gale Beaver Award for scriptwriting through the Hopwood Award program all the more impressive.
Pre-Production and Casting
As the script took shape, Claire simultaneously began assembling her team. The casting process was crucial—she needed actors who could convey the complex psychological dynamics at the heart of the story. After seeing her work in other films, Claire knew she wanted Kaylin Guines for the role of Mia. "I had seen her in other films and I was like, I want her. And she hopped on."
Finding Isabella, the half-sister character, required a more traditional audition process. Kaynye Leonard ultimately won the role, bringing depth and nuance to the character. Claire's immediate reaction to Leonard's audition—"Yes, I want her"—speaks to the instant chemistry and understanding that would prove essential for the film's success.
Location scouting throughout Ann Arbor and the University of Michigan campus became another critical element of pre-production. The team worked to showcase familiar locations in unexpected ways, creating a visual landscape that felt both intimate and slightly unsettling.
Production and Post-Production
Filming took place in the fall, with Claire wearing multiple hats as director and producer. The shoot required careful coordination between departments, from cinematography to costume design, all working in concert to realize Claire's vision.
The editing process began in January and stretched over several months. Editing a psychological thriller requires particular attention to pacing, tone, and the careful revelation of information. Claire had to balance maintaining suspense with ensuring the emotional beats landed authentically.
Working with an All-Female Crew
One of the most distinctive aspects of "We're Not the Same" is that it was created with a predominantly female crew—a rarity in the film industry where women remain significantly underrepresented, particularly in technical and leadership roles. For Claire, this wasn't just a political statement; it was a creative necessity that fundamentally shaped the film.
The Power of Shared Perspective
Claire's Director of Photography, Rachel Fires, became a crucial creative partner throughout the production. Their collaboration exemplified the unique dynamics that can emerge when women work together on projects exploring female experiences. "We would be talking about being able to make and design these shots, very like male gaze, female gaze, already sitting down having these conversations with each other about how we were going to shoot this film," Claire explains.
The concept of the "male gaze" versus the "female gaze" in cinema has been extensively discussed in film theory, but putting it into practice requires intentionality and awareness. Claire and Rachel found themselves on the same wavelength almost instinctively. "I would be like, I'm thinking of this, and she's like, I was thinking of that. We just understood and knew each other so well."
Building a Supportive Creative Environment
Beyond the Director of Photography, the team included camera operators Alex van Swergen and Lauren Donatoni, both of whom contributed to the film's distinctive visual style. The collaborative atmosphere fostered by the all-female crew created what Claire describes as an incredible support system.
"I think being on a female crew is so fun because I think there's just so much support and kindness," Claire notes. "I think women really understand each other and also just understand how to communicate with each other." This understanding translated into a production environment where ideas could be freely shared, risks could be taken, and everyone felt invested in making the best possible film.
The thoughtfulness of the crew extended to every aspect of production. Rather than simply executing the vision, team members actively engaged in improving it. "We were always like, okay, how can we make this better? What can we do better? How can we look at this in new ways?" This collaborative problem-solving approach elevated the entire project.
The Art of Intentional Filmmaking
What sets "We're Not the Same" apart from typical student films is the remarkable level of intentionality in every creative decision. From costume design to color palettes, every element serves the story's deeper themes.
Color as Character Development
Claire worked closely with costume designer Camille Chipperwa and production designer Megan White to create a visual language that would subtly track the characters' psychological journeys. The color scheme was particularly significant, with pink serving as a symbolic representation of femininity and identity.
Isabella, the half-sister, appears predominantly in pinks, representing a kind of effortless femininity that Mia finds both attractive and intimidating. Meanwhile, Mia begins the film in bland, neutral colors—a visual representation of her feeling like she doesn't quite fit in or measure up.
As Mia's obsession with Isabella intensifies, her wardrobe shifts. She begins incorporating more pinks into her clothing, literally trying to embody the qualities she admires in her half-sister. This transformation represents Mia's loss of self, her identity becoming consumed by her fixation on becoming like Isabella.
One of Claire's favorite scenes features both characters wearing white—a powerful visual metaphor. After Isabella discovers that Mia is her half-sister, both young women find themselves on the Law Quad, dressed entirely in white. "I love that scene so much because it kind of represents this like loss of themselves," Claire explains. The white serves as a blank slate, suggesting both characters have lost touch with who they truly are.
The Details Matter
Makeup artist Sydney also played a crucial role in the film's visual storytelling. Working in concert with the costume and production design teams, the makeup department ensured that every frame communicated something about the characters' internal states.
This level of attention to detail is rare in student filmmaking, where budget and time constraints often force compromise. That Claire and her team prioritized these elements demonstrates a mature understanding of visual storytelling and a commitment to craft that goes beyond simply getting the project finished.
Breaking Into the Film Industry
For aspiring filmmakers watching Claire's journey, her path offers valuable lessons about persistence, networking, and the importance of simply doing the work.
The Importance of Just Starting
When asked about recommendations for getting films out there and gaining recognition, Claire's advice is refreshingly straightforward: "You just have to like find your friends and just go out and do it. The best way to learn is through the experience."
In an era where it's easy to get caught up in planning, researching, and preparing, Claire emphasizes the value of action. Film school provides structure and guidance, but the real education comes from actually making films, making mistakes, and learning from them.
Leveraging Modern Platforms
Claire also recognizes the unique opportunities available to today's filmmakers. Social media platforms like Instagram and TikTok offer distribution channels that didn't exist even a decade ago. "Just posting stuff on Instagram and TikTok, making little one minute films will help you just learn how to do it and get on the ground and just go for it," she suggests.
These platforms serve dual purposes: they're both promotional tools and learning opportunities. Creating short-form content helps filmmakers develop their technical skills, discover their voice, and build an audience—all while maintaining complete creative control.
The Power of Networking
Beyond creating work, Claire emphasizes the importance of networking. Whether it's appearing on podcasts, attending film festivals, or connecting with other creatives online, building relationships within the industry is crucial. These connections can lead to collaborations, job opportunities, and the kind of community support that sustains creative careers.
Film Festival Strategy
Currently, Claire is in the process of submitting "We're Not the Same" to film festivals. This stage of a film's life is critical for emerging filmmakers—festivals provide visibility, validation, and opportunities to connect with industry professionals, distributors, and other filmmakers.
The team is strategically targeting festivals that focus on female-forward films, recognizing that their project will resonate most strongly with audiences and programmers who prioritize diverse perspectives and female voices in cinema.
What's Next for Claire de Vries
As Claire completes the final touches on "We're Not the Same" and navigates the film festival circuit, she's also looking ahead to the next phase of her career. Like many recent graduates entering a competitive industry, she's open to various opportunities that will allow her to continue developing her craft.
Career Aspirations
Having produced approximately eight short films during her time at Michigan, Claire has developed a strong skill set in producing. "I love producing. That's been a major skill," she notes. However, she's not limiting herself to one role. She's also passionate about directing, particularly enjoying the collaborative work with actors that directing requires.
Understanding that breaking into the industry often requires starting from the ground up, Claire is also open to production assistant roles. Far from seeing this as a step backward, she recognizes that PA positions "teach you everything" and provide invaluable on-set experience.
Her interests span film, television, and documentary work—any format that allows for compelling storytelling and creative collaboration. This flexibility, combined with her proven ability to execute ambitious projects, makes her an attractive candidate for production companies and studios.
Championing Michigan as a Filming Location
Beyond her personal career goals, Claire is passionate about promoting Michigan as a filming location. Throughout the conversation, she emphasized how beautifully Ann Arbor and the University of Michigan campus translated to screen. "I love Michigan and I think it's so beautiful. So definitely want more filming happening in Michigan for sure."
Her success in making familiar locations look fresh and cinematic on screen demonstrates the state's potential as a filming destination. By advocating for film incentives and drawing attention to Michigan's aesthetic possibilities, Claire is contributing to the larger conversation about developing robust film industries outside traditional Hollywood hubs.
The Importance of Community
One of Claire's recurring themes is the importance of creative community. Whether it's the all-female crew on "We're Not the Same," the student filmmakers at Imagination Films, or the broader Ann Arbor creative scene, Claire understands that filmmaking is fundamentally collaborative.
Looking forward, she's excited about the prospect of building connections with other creatives, lifting each other up, and demonstrating the value of storytelling and media work. This community-minded approach, combined with her talent and work ethic, positions Claire well for a successful career in whatever direction she chooses to take it.
Memorable Quotes from the Episode
On the inspiration for the film:
"I remember just kind of feeling so frustrated by that film. It's regarded as one of the best films of all time, but the women characters in that film had no autonomy and they were just so objectified. And I was like, I wanted to write a film and make a film that kind of subverted that."
On personal experiences shaping the story:
"I remember that feeling of never feeling enough and always wanting to be better or wanting to be like her. But then, and I kind of wanted to symbolize that in that film, the comparison that women go through."
On working with an all-female crew:
"I think being on a female crew is so fun because I think there's just so much support and kindness. I think women really understand each other and also just understand how to communicate with each other."
On the creative collaboration:
"I would be like, I'm thinking of this, and she's like, I was thinking of that. We just understood and knew each other so well."
On advice for aspiring filmmakers:
"You just have to find your friends and just go out and do it. The best way to learn is through the experience."
On the symbolism of color in the film:
"I love that scene so much because it kind of represents this like loss of themselves."
Links You May Find Valuable
University of Michigan Film, Television and Media Program: Information about one of the leading film programs that helped shape Claire's craft
Imagination Films: The student-run production group Claire led at Michigan
Hopwood Awards Program: Prestigious University of Michigan writing awards program where Claire won the Frank and Gale Beaver Award
Alfred Hitchcock's Vertigo: The classic film that inspired Claire's creative response
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