Al’Ikens Plancher is a writer, director and producer. He is known for Remnants (2016), Rationale (2014), and Prestige (2022). He seats to talk about his new film titled KONPA.
indieactivity: How did you get into directing?
Al’Ikens Plancher (FL): I got into directing by wanting to make the scripts that I was writing. I wanted to make them so badly that I started putting my own money up to fund them.
Did you hire a casting director, or choose the cast yourself? What criteria go into your casting?
Al’Ikens Plancher (FL): I’ve done both before. Lately, I’ve casted my projects with the help of my producers. My main criteria is to see if the actor can transform the character into a new improved character. The pages on the script are just a blueprint, but now I want to be surprised and discover a new character hidden inside the one I wrote.
What went into the casting process for KONPA?
Al’Ikens Plancher (FL): Our casting process for Konpa was very interesting. We did all the basic stuff like posting it online, etc., but we mainly focused on our relationship with the community. The team used all our resources, whether it was getting in touch with an actor through a local director, or meeting with various dance troupes to gain access to their members. We did it all. We called up all the favors. In the end, casting was a culmination of the Florida filmmaking community, and the Haitian community.
Without giving a thing away, tell us a little bit about the script. How did you come up with it?
Al’Ikens Plancher (FL): I wanted to push myself creatively, so, I asked myself: what would be the most challenging story for me to tell today? The answer was a musical, but then I quickly realized that making a musical on the scale that I wanted was going to require major funding. So, I decided to strip away most of the story and find out what was at its core. And once I felt the heartbeat of the story, I decided to write an entirely new story around it.
Who is KONPA for? Who do you think would enjoy it the most?
Al’Ikens Plancher (FL): The film is truly for everyone to enjoy. Now, Haitians, Haitian-Americans, and the Haitian diaspora at large are clearly a shoe-in for KONPA, but to be honest if you like good story telling, this is for you.
How long was the post-production process?
Al’Ikens Plancher (FL): I don’t remember, but it was longer than anything that I’ve made previously, and it was mainly because of the music which plays a major factor in the story. The main theme is a Konpa original song. We didn’t want to just throw something together, but we actually got a Haitian band together led by our composer Darnell Monestime.
They were able to come up with some great music that we were able to use throughout the film. By the time the music was done, everything including the sound mix was done. But that was fine because you can’t have a film called KONPA with bad dancing or bad music in it.
The film had a lot of talent working behind the scenes as DPs, sound designers, composers, etc. Why is diversity important both in front of and behind the camera?
Al’Ikens Plancher (FL): It was so important to stay true to Little Haiti, and Miami and obviously Haiti. Our DP is from Colombia, so is our Editor. The sound designer is from the Dominican Republic. Our composer is Haitian. Our Sound Mixer is from Venezuela. I can go on. Most of the crew and cast are Haitian, but we made sure Miami the film felt like the real Miami.
What are your goals with KONPA?
Al’Ikens Plancher (FL): My goal for the film is for it to reach audiences beyond my wildest dreams. I truly want to give people a slice of Haitian culture.
What’s next for you? What are you working on right now?
Al’Ikens Plancher (FL): I’m currently promoting my narrative fictional podcast called, PRESTIGE, which is set in 1813 Haiti while working on my debut feature, BOAT PEOPLE.
What would you recommend to a new director at the beginning of his/ her journey? Any special courses, workshops, helpful books they can read?
Al’Ikens Plancher (FL): Just do it, and fail forward. Use whatever resources you have and start failing as early as possible and as quickly as possible. Learn from those mistakes, and go again and again. Never stop learning, and never stop doing.
Who is your favorite director? Why?
Al’Ikens Plancher (FL): My favorite director is Christopher Nolan. It’s hard to say why, but his films just fall with the cinema every single time.
What advice would you give directors around the world?
Al’Ikens Plancher (FL): Just do it. Plain and simple: Just do it.
Tell us what you think of the interview with Al’Ikens Plancher. What do you think of it? What ideas did you get? Do you have any suggestions? Or did it help you? Let’s have your comments below and/or on Facebook, Instagram, or Twitter.
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