Nora Director Anna Campbell Discusses Transforming the Contemporary Musical

      Anna Campbell is an actress, producer, and director hailing from Portland, Oregon. After graduating with honors from Vassar College, she embarked on an acting career, appearing in productions such as Veronica Mars, Mad Men, NCIS LA, Leverage, Grimm, Agents of S.H.I.E.L.D., Teachers, and NCIS, among others. Her directorial debut, Nora, premiered at Cinequest and won the New Visions Award. In the following piece, she discusses the process of modernizing videos.

      As someone who has transitioned from a musical theater enthusiast, I've found that you never truly leave the genre behind. My first feature film as a director, Nora, tells the story of a mother who abandons her dreams of becoming a singer/songwriter to return to suburban life and raise her exceptionally talented six-year-old daughter.

      It was only late in the project that I realized I had unintentionally aimed to reclaim the musical genre, complete with an original indie-rock soundtrack. Whenever Nora, a role I play, experiences an intense moment, the film bursts into a song that resonates with her reality. Six of these songs evolve into full-fledged music videos, presenting me with six chances as an eager first-time filmmaker to experiment with techniques I had never attempted before. Initially, I lacked the confidence to tackle music videos as grand as those I admired on MTV. I approached the principal photography with assurance, knowing I could collaborate with the actors to convey the story I envisioned, but allowing myself to explore the vast canvas of my imagination felt daunting. I expressed to my producers my intention to hire “big-name music video directors” (though I was uncertain about who that would be in 2022, or what budget would be involved). I was fortunate to receive amazing support from a talented local crew in Portland, led by my brave cinematographer, Kevin “Fletch” Fletcher. About a year after we completed principal photography, it was time to create the music videos, and I still had my doubts. Fletch and I discussed my vision, and I explained, “She’s breaking free from her constraints. Like a 1950s housewife smashing her kitchen.” I added, “She’s trying to fit in, like a human among mannequins.” I could sense his smile through the phone.

      Fletch took all the chaotic ideas I shared, whether verbally or scattered across crowded mood boards, and transformed fantasy into reality. It’s the kind of creative collaboration any director lacking technical expertise dreams of—where enthusiasm and passion align, and there’s always a sense of “what if,” never “we can’t.”

      Anna Campbell on ‘Smashing My Very Own Tiny Patriarchy’ in Nora

      Anna Campbell as Nora, and her daughter, Sophie Mara Baaden, as Sadie in Nora. Image by Kevin Fletcher.

      Gradually, I recognized that I had clear concepts for each music video, and that each one was a gut reaction to images that had lingered in my mind as a woman. The women from Archie comics battling for a boy morphed into a rebellious teenage rocker defying social norms and the judgments of cheerleaders. A romance novel was reinterpreted through our heroine who forges her own path, seeking independence rather than romance. I created a straightforward take on an 80s music video where the lead woman is unapologetically herself, disregarding societal expectations. I found myself embodying a mannequin, effectively dismantling my own miniature patriarchy.

      My core design team enthusiastically joined me in crafting these six mini-movies. Carrie Jordan, my art director, matched my excitement with creativity, transforming dull paths into vibrant red carpets using 30 yards of inexpensive red velvet and sourcing perfectly measured vintage wallpaper to keep expenses manageable. Savannah Gordon designed a stunning red dress from fabrics I prudently procured from LA’s garment district. Together, Michelle Stoyanoff and I explored various hairstyles and developed a makeup language that pushed the limits of our creativity.

      Each video stands out in both style and sound, and I partnered with talented artists and high-quality equipment to bring them to fruition. Our favorite visuals for “Tiger,” the ’80s-themed video, were captured using classic in-camera effects from a vintage Panasonic PV-GS400, thanks to the remarkable eye of Fletch’s teenage daughter, Nina. I also became a mannequin, experimenting with movement in low frame rates, adorned only in shapewear and an extravagant amount of fake hair. Ultimately, we utilized drones to document the grand journey in “Left Behind,” featuring our carpets and custom dress in the stunning Columbia River Gorge.

      Step by step, I absorbed a wealth of techniques I was incredibly fortunate to encounter. I learned to think in multiple directions at once, meticulously storyboard, and yet be prepared to adapt seamlessly in the moment while still maintaining a coherent narrative. I expanded the team by collaborating with animator Joshua McCartney in England for “Cruel,” and engaging motion artist Heather Card