I Live Here Now : A Conversation with Executive Producer Floriane Andersen

The multi-talented and charming Floriane Andersen began her career as an actress, performing in France and touring the UK with Shakespeare productions. Alongside three fellow actresses, she began making short films—writing, directing and acting—these went on to play successfully on the festival circuit. Out of that momentum grew an all-female production company which would also support first-time female filmmakers. Most recently, Andersen has stepped fully into producing, serving as an executive producer on Julie Pacino’s psychological drama I Live Here Now, shot on 35mm and distributed by Utopia. We spoke about her transition into producing, the film’s genre-bending identity, and the importance of championing underrepresented voices in cinema.

Interviewed by Susanda Wolf

The Film

Susanda: For those who haven’t seen it yet, how would you define I Live Here Now?

Floriane: It’s interesting. In the US, because of the festivals we took part in, it was labelled as horror. But then in Europe it started gaining momentum at more arthouse festivals. So I’d say it’s more of a psychological drama, or even a thriller. But really, it’s a journey. It doesn’t fit neatly into a box. It’s a piece of art.

Susanda: And what was it about the script that spoke to you personally?

Floriane: The fact that it was coming from a woman, and that it was such a personal story. We felt we could relate to her traumas and her hurdles. We also felt that this story hadn’t really been told before. And with the political climate, especially in the US, it felt very relevant to talk about autonomy over your own body, and what it means to survive in a world that tells you how you should behave as a woman. That’s why it felt urgent.

Susanda: Why did you choose to shoot on 35mm, which is unusual for an independent film.

Floriane: Everyone told us not to. They wanted us to shoot digitally because it’s less expensive. But we insisted on 35mm. It was a struggle, but one of the best decisions we made. It makes the film special—the colours, the texture, the whole experience. We’re working with Utopia to make a film print, so people can actually see it projected on film. Of course, we’ll also have a digital release for wider audiences. But for those who love cinema, being able to watch it on film will be something else.

Interviewer: Which scene do you think will stay with audiences the most?

Andersen: The final image. There was originally a scene after it, but we decided to cut there. That moment contains everything the film is about, and it’s very powerful. At 91 minutes the film is short and sharp, we wanted people to be impacted, not to feel it dragged on.

From Acting to Producing

Susanda: You began your career as an actress, but for I Live Here Now you stepped into producing. What inspired that move?

Floriane: It’s really about being the right fit at the right time. On this project, I felt I was the best fit to produce and help bring the film to life, supporting Julie’s vision. With my company, we aim to champion female voices, especially first-time directors, and this was the perfect opportunity to do that.

Susanda: Do you see yourself returning to acting, or are you focused on producing now?

Floriane: I still love acting, and I’ll never give it up completely. But I’ve really fallen in love with producing. My hope is that one day the two will come together—that I’ll produce films that I can also act in, when it’s the right role. For now, though, producing is giving me the creative freedom and the sense of agency I was missing as an actress. It feels like the right place to be.

Susanda: How did the company itself first take shape?

Production

Susanda: What kind of budget were you working with?

Floriane: It was small. That’s why so many of our choices were practical as well as creative, like building the motel set in the UK instead of shooting in California. It gave us freedom without pushing the budget over the edge.

We recreated the entire motel in the UK, even though the film is set in California. That gave us so much freedom to move walls and design shots. You could never do that in a real hotel. Our designers, a brilliant team of women, did amazing work with very little.

Susanda: And of course, you’ve worked closely with Julie Pacino before. What was it like working with her on this?

Floriane: I’ve been working with Julie for five years, on short films and edits. We already had a great relationship. Our role as producers was to support her vision completely, not to control it. She kept surprising us in the best ways. For casting, for example, Julie worked tirelessly until she found the perfect Rose in Lucy Fry.

Susanda: What’s the plan for distribution and festivals?

Floriane: Utopia are handling both domestic and worldwide distribution. They’re very strategic about it. We, as producer,s don’t dictate which festivals the film goes to, but being European we were able to advise on festivals that would resonate here. In the US, Utopia are guiding that side. We trust them. Our goal has been to push for a theatrical release first, because the film was shot on 35mm and it really deserves to be seen on the big screen. After that, of course, we’ll look at streaming platforms, but we want to give it that space in cinemas first.

Susanda: And what’s next for you and your company?

Floriane: We have I Live Here Now on the festival circuit at the moment, and two other features in post-production which we’ll be announcing very soon. Then we have six more features in development and one television series. So it’s a very busy slate. We’re based in Los Angeles, but because the four of us are European — French, Swiss, Belgian and from Luxembourg — We’re in a good position to bridge US–European co-productions. We can bring some equity from the States, and we understand both markets.

Personal Connection

Interviewer: On a personal note, what part of Rose’s journey resonated most with you?

Floriane: Rose is an actress living in Los Angeles. I’m an actress living in Los Angeles. So I could really relate to her struggles—her challenges, her insecurities.

When I read the script, I recognised so much of what I’d gone through myself as a struggling actress in LA. And it wasn’t just me—my co-producers felt the same way. We’ve all had those moments of doubt, of not being seen, of wondering whether you’re wanted in the industry. That’s exactly what Rose is going through in the film.

That’s why it hit home for us. We weren’t just producing a story we thought was interesting; we were producing something that reflected our own experiences. That gave us a deep empathy for Rose’s journey, and a real sense of responsibility to get it right.

Susanda: How do you hope audiences feel when they leave the cinema?

Floriane: I hope they feel different, but in their own way. I don’t want to impose one single meaning on the film. Talking to people who’ve seen it, they’ve all had very different interpretations, and that’s wonderful.

That’s what I love about cinema, that people can take what’s theirs from it, and find their own meaning. It’s not one message for everyone. It’s a piece of art, and it resonates differently depending on your life and what you’re going through.

Asked to sum up the film in 3 words, Floriane chose Empowerment. Inner journey. Wonder.

I live her now, is a powerful piece of film-making that should be seen at the cinema but would be equally as thought-provoking in any setting.

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