One of the coolest projects I’ve seen lately was a really fun web series debuting on January 31st called Cavewoman. It’s the latest story from award-winning filmmakers Christopher Rohrbeck and Bianca Dovarro.
What made the series so cool was that it was made in such a unique way. This series of Vertiscope™(9:16 format) short films reimagines the lost-world genre, with puppets, animations, retro costumes, and a booming voiceover from iconic Star Trek narrator Jonathan Frakes.
Set in a prehistoric-inspired world, Cavewoman follows the ecological misadventures of a curious cave girl—the last human on Earth. With humor, heart, and an eye for detail, Cavewoman invites viewers to explore a poignant and imaginative tale of survival and connection.
I was happy to sit down with the creators and learn more about how this inventive and noisy idea came together.
Let’s dive into our interview!
‘Cavewoman’CREDIT: Pocketlint Pictures LLC
NO FILM SCHOOL: What inspired you both to create the short film series Cavewoman?
Christopher Rohrbeck: It started with a feature script that was completely out-of-scope to produce on a budget. But then we thought to ourselves: “Well, instead of shelving it, why not just make it at a smaller scale?” Instead of building some proof-of-concept or something, let’s take the character and plop them into unique shorts that are enjoyable in their own right. It’s similar to the early days of cinema and animation, where artists would craft recurring characters to star in various shorts and features.
Bianca Dovarro: Rather than waiting years to sell this story to a studio, I advocated to take this project directly to our viewers. Let’s meet audiences where they are. This is a project that puts cinema in your pockets and gives you unique opportunities to explore the lost worlds we’ve created. It doesn’t end here, this is a property we could take anywhere.
NFS: How do you approach storytelling in a series like this?
CR: It’s about keeping it short and tasteful, understanding the endangeredness of attention without compromising on our artistic values. It’s a fast-paced series, but you almost can’t tell after you’ve watched it through. It really feels like you’ve gone on a great adventure.
BD: From my experience as a producer, I knew we needed to tell simple, satisfying stories that appeal to all audiences while alluding to something bigger. As filmmakers in the 21st century, we need to use new tools and adapt to connect with the next generation. In this way, our audience has direct access to a character they love and can interact with online.
CR: Generally, I like to make films that feel tonally diverse. I think this is an easier project to balance because it relies so heavily on themes of nature. If you’ve watched any nature documentaries, you’ll know what I’m talking about: one moment it’s itty-bitty ducklings snuggling in their nest, the next moment it’s a barn owl swooping in and gobbling them all up. As an audience member, you take it as a “that’s life” sort of message. I think we take that and add a bit of absurdism into it for narrative purposes.
BD: The throughline of each short connects to the larger idea that humankind is curious, resilient, and deeply connected to the earth. Cavewoman’s not a dummy, she’s not one of those brutish cave people you see so often portrayed in film and tv. She’s a reflection of ourselves, in an optimistic sense.
NFS: There’s a level of craftsmanship here with both practical and VFX, how do you know when to make something and when to use VFX?
CR: It’s a creature feature, so all our key animals are brought to life using puppetry, stop motion, and costume. That’s the kind of stuff audiences love, so making sure that was something you could imagine yourself feeling, touching, that’s important. Then, we work our way out, composite a volcano here, matte in a mushroom there, that makes the world feel full like we’re really making our own biosphere.
BD: Quite simply, if there isn’t the money to hire out a VFX artist, it’s down to us. Luckily, because it is a pastiche of those Harryhausen adventure films, many of these techniques you can achieve yourself if you put in the time and effort. We will break out plastic dinosaur toys.
‘Cavewoman’ CREDIT: Pocketlint Pictures LLC
NFS: What are some of the biggest challenges you’ve faced as filmmakers, and how did you overcome them?
CR: Money, for sure. Not simply for the productions, but simply staying afloat in a turbulent media industry. Working in the industry while following my own creative endeavors has what’s kept me sane.
BD: For me, it’s been challenging juggling an actor/producer role because compartmentalizing on set takes time. I remind myself how lucky I am to have the tools that allow me to manifest my stories on screen. Wearing both hats means that you have agency in how your production runs while also breathing life into a character you’ve always wanted to play.
NFS: What is your advice for emerging filmmakers?
CR: I think many of us fear what will happen to film in the digital landscape, what will happen to art when all people seem to want is “content.” I have those fears too, but in the grand scheme of art history, film is still a new medium. The earliest filmmakers we admire were entering new territory every step of the way. This world of verticals and short-form content may seem scary, but take it as a challenge – you’re a filmmaker, fear no rectangle.
BD: Do not stop creating. Yes, down the line, you will need to find the funding, you will need to scale up, but until then, keep writing and challenge yourself to create shorts with what you already have available to you. The only way to hone your style is if you are creating regularly.
Author: Jason Hellerman
This article comes from No Film School and can be read on the original site.
