Steve and Chad have been working on various projects together for over 4 years. They both moved to Colorado in 2019, and proceeded to make a music video together (Verbal Deluxe – Audible). From there, they brainstormed and collaborated on an outdoor sports passion project which turned into a feature documentary (Dreama Team). They’ve worked together on multiple projects that pay the bills, and most recently on a documentary short called “Legacy” which played this year at the Breck Film Festival. Steve and Chad are frequently running ideas by each other, and enjoy the inspiration of other creative people on the front range.
Steve Vanderheide: Steve Vanderheide is a filmmaker from Ontario, Canada, now residing in Arvada, Colorado. He has been telling stories about people for over 15 years and enjoys all aspects of documentary filmmaking, preferring to wear many hats instead of just being in one role. He has edited 3 feature documentaries, and co-directed “Dreama Team”, a feature documentary that was shown at Breck Film in 2023. Some of his other work has also been featured at Breck Film over the years, including films like “ASK” (Editor), “Normie” (Editor) and “Riding The Shadow” (Co-Director/Editor). He enjoys hiking, mountain biking, snowboarding… all the Colorado stuff, as well as playing music.
Chad Weber: Chad Weber is a documentary filmmaker based in Longmont Colorado. He founded “Free Range Films” in 2021 as an outlet to share documentary films. He has created several award winning documentaries both at a short length and feature length. Films include former Breck Film Fest selections “Bluebird Sky” about a young couple starting a regenerative livestock farm and “Dreama Team” about an ultrarunner competing in America’s biggest 100 mile race. He’s interested in sharing the stories of the” everyman and woman”. Stories that are often less heard – about the everyday struggles and triumphs of those around us. He’s driven by a curiosity to understand the world around him and often works in the agricultural space. Chad enjoys most Colorado things like hiking, music shows, and a good film festival in the mountains.
Interview with Steve Vanderheide
- Tell us your backstory. How and why did you get into filmmaking?
I like to think I’ve always been a curious person. I can remember driving on road trips with my family as a kid, and always asking “why”, always drilling down further, with further “whys”, to the frustration of my parents, I’m sure. When I was 16 we got a video camera as a family, and I was hooked. I think it is probably the combination of exploring my curiosities, seeking to capture a beautiful image, and mixing in music into all of it that has kept me coming back to filmmaking. There are so many different disciplines that swirl together to create the right recipe for a good film. And since I like so many of those different disciples, it keeps me interested and focused. I love that a camera and a microphone allow me the permission to jump into different walks of life, like a portal to another world that I can camp out in for a month or two. It allows me to taste what others taste, and it feels like I get to kind of live multiple lifetimes a little bit.
- What films have been the most inspiring or influential to you and why?
Action sports films were really influential to me. In high school I would wear out VHS tapes and DVDs of freeride mountain biking and snowboarding. I think it was the mountain culture, the adventure seeking, and probably the punk rock as well. A little later on I particularly loved films like All I Can and Into The Mind by Sherpas Cinema. They did such an incredible job telling a story through really great cinematography. Watching those films just makes me want to get and shoot. I also really love “Encounters at The End of The World” by Werner Herzog. I just love that he went to Antarctica to talk about the people. The irony of that. There’s also something about desolate places that I’m really attracted to. Wilderness. Extreme cold. Survival. I’m not totally sure why. They create a mood, I guess.
- What’s harder? Getting started or being able to keep going? And what drives you to continue making films?
That’s actually a tough one. I resonate with both. I actually think I will go with “getting started” though. Even though seeing a documentary film through to the end is completely exhausting – truly, I have something in the back of my mind that nags me to finish what I’ve started. Which is probably why I sometimes don’t start things. I don’t want to let myself down. Which can be a problem in itself. Perhaps too much perfectionism that cuts the idea off at the pass from the get-go. I’m trying to learn to simply respond to my gut more, and start something that grabs me, without worrying about the finish line yet.
I also think projects like feature-length docs are such a marathon, that your body literally seems to sometimes need a year or two off. I trust that the compulsion will come back though. It seems like it always has.
- How do you know when your story’s finished, when to walk away?
I love to tweak and geek out on the nitty gritty of a timeline that I’ve been deeply involved in, so I understand the temptation to keep refining. I also have a few thoughts that counter that desire to endlessly tweak. In no particular order, these are some of the things that help me walk away.
When watching through the cut, is there anything that feels off to me? Yes? Then keep tweaking. No? Then you may almost be done. Did you get lost in the story, or were there “mental interruptions” as you watched?
The 80/20 rule. Maybe 90/10 if it’s a true passion project. But yeah, that last 10 percent is going to be endless, and… will anyone notice the difference?
Have trusted people or friends watch it. First of all, they will probably bring up some problem you didn’t think of, which you’ll probably need to tweak. I like to try to see a pattern across 3 to 4 people, and see if they bring up the same stuff. But if they enjoyed watching it, and “got it”, and were moved by it… you’re probably almost done.
What is better? An imperfect film that is “finished” and people can watch, or some future utopian version of a perfect film that you are smothering? There’s some stat out there like 90% of documentary films don’t get finished… (don’t quote me on the number). Let that baby bird out of the nest and watch it fly… It’s such a cool thing to see a film out in the wild and see how people respond to it.
But hey, also… if you’re enjoying the tweaking… is there anything wrong with that?
- What is your favorite aspect of film production?
Another really tough one for me to answer. I always feel a rising crescendo of excitement through the process of making a film. Preproduction can sometimes be agonizing or tedious, so probably not that part. I love to shoot, so that is way up there, although filming can give me a fair amount of anxiety… the fear of the unknown… will we get what we need in the very small amount of time we have?. If it’s a documentary I really love sitting in a long interview and just digging… asking questions… following my curiosity instead of just a list of questions or a script. Then, I would say the highlight for me is when I am one-half-to-three-quarters of the way through the filming, it’s working out, we’re getting what we need, and there’s that eager excitement of looking at the footage and starting to dive into the edit. It’s like, wow, this is actually working. It’s like looking forward to a tasty steak.
Interview with Chad Weber
- Where do you get your inspiration from?
As a storyteller I get inspiration from other people trying to make a difference. From other people with a perspective I admire. From people that are passionate about what they are doing in their life. From people that are relatable and perhaps going less noticed in their endeavors
I feel like there are two kinds of people in this world. Those who are trying. And those who throw their hands up and criticize. I want to be one of the people that tries.
As a creative I get inspiration from other people in my field who are super talented. Who are pushing the creative envelope visually and in their storytelling/editing. And anyone who can find a way to do something different or against the grain, against the traditional or expected structure.
2. Can you describe the business behind independent filmmaking and how you are trying to get your film seen?
The business behind being an indie filmmaker is that you need another job to do it! Unless you’re in the top tier group, and I’m not. I don’t know anyone who is able to pursue fully funded doc projects from the front end. Or anyone making films full-time. We all work more corporate leaning jobs to pay the bills and try to make the margins work on the indie films, and work on them in our free time.
I promote content on social media/instagram. I’ve recently been part of a film, “Dream Team” that will be distributed online via video on demand streaming. So we’ll see how that goes.
People have a lot of places to go for content and film. And the ease of access to gear makes it possible for lots of people to create content. Both are great things but that atmosphere makes it very challenging to connect to an audience when there’s an ocean of content. I don’t have a huge strategy other than building a brand with intention, focusing on stories that are meaningful, and focusing on a local audience.
3. What are the next project or projects you are beginning work on?
I’m working on a couple films in the agricultural space currently.
One is a short film due for release in Fall of 2024 titled “Peaks to Prairie”. It’s about finding nature based solutions to combat human created problems in our Peaks and Prairie ecosystems.
Another film is a longer project due for release in the Spring of 2025. It’s about agrivoltaics which is the co-location of agriculture and solar power. It’s solar panels above crops/livestock. I’ve been traveling around the state of Colorado speaking to farmers and ranchers about the challenges they face in the profession and exploring if the concept of agrivoltaics can provide any solutions to these farmers.
I also started a video podcast series called “Studio (Apartment) Sessions” which invites local musicians over to my studio apartment to share in songs and conversation.
4. If there is one or more thing you think would make the film industry better, what would it be?
I think a funding mechanism for smaller independent documentary projects would make the industry better. It would allow filmmakers to really take the time to explore topics beneficial to the population.
If we found a way to fund projects that wasn’t through corporations that would be great. More foundations, non-profits, donors, grants, that made it realistic for indie filmmakers to create.
It would expand education and learning based films…for the sake of learning.
For example, I’ve been speaking to a lot of farmers across our state this year for a documentary project. Our farmers all have different opinions, but what they all believe in is that education is important. Filmmaking is a tool to help educate consumers and farmers.
People need to learn about their food system and the different challenges and constraints our farmers experience. And our farmers need to learn about new innovative ideas to continue to survive.
There is a disconnect between people and their food. There is a disconnect between people overall in society. Filmmaking can help share stories and grow empathy among us. If projects were less corporate driven I think there would be more films that would help us understand each other’s experiences better and become a more understanding, co-operative, loving society. Particularly if these stories are told with empathy and a minimal amount of bias.
5. Why did you choose to submit to the Breckenridge Film Festival? What do you look for in a festival where you hope to show your film?
I’ve had the opportunity to participate in many film festivals in the past few years. And there is a wide gap in the quality. In my opinion, what sets them apart is the people and the passion.
Breck has a group of passionate organizers and volunteers that really sets it apart. They make the filmmaker feel valued and taken care of. The communication is great. You’re assigned a volunteer liaison that calls you and makes sure you’re taken care of.
The organizers and volunteers know about you and your film when you arrive and they’re excited that you are there.
You create relationships with people that you can reach out to beyond the festival. I’ve kept in touch with filmmakers I’ve met for advice on distribution. I’ve reached out to the festival organizers for letters of recommendation for a grant proposal and they were more than happy to help out and send over kind words.
There’s a good mix of films and venues, networking, and activities. Plus it’s in Breckenridge, Colorado which is beautiful. And lastly, Breckenridge has a history and record of quality and prestige with over 40 years running.
Follow the Filmmakers
Steve Vanderheide
www.instagram.com/vandersliced
Chad Weber