Alex Holdridge and Linnea Saasen: Art Reflecting Life
It’s not every guy that makes an indie cult classic (In Search of a Midnight Kiss), then is unable to get a followup made for seven years. Then again, it’s not every guy that gets to go to Berlin on vacation, fall in love with a beautiful dancer, run off to Montenegro with her, and make a semi-autobiographical film about it. With her as his partner, in life as well as art. But that’s what happened to Alex Holdridge and Linnea Saasen, whose new film Meet Me in Montenegro has, guaranteed, the most unusual backstory you’ve heard in quite awhile. They joined us recently to talk about the film, which they co-wrote, co-directed, and co-starred in, as well as co-lived, for that matter.
Paste: There’s a first question that is often tedious, but usually necessary, about the genesis of the project at hand. But in this case I’m really looking forward to hearing your answer, because after seeing the movie and knowing it was semi-autobiographical, I’m dying to know what parts are fully autobiographical for the two of you!
Alex Holdridge: It was a crazy process. I had done a big table read at the studio because I thought I was making this big studio film. I packed up everything I had and put it in my parents’ garage, and that was that. I was leaving L.A. to do this film in New York that had been years and years in the making. That’s what I thought was going to happen. So I take this vacation to Berlin and meet Linnea, and we fall madly in love on my last night there. And she asks me if I want to take this train ride to the Balkans, and I say, “Yes! Let’s do it!” She thinks she’s going off to art school…
Linnea Saasen: I had already given up my job and my apartment, and I was ready to move to Amsterdam. I had been living in Berlin for about two years.
Holdridge: So we travel down there, and it’s really terrific. Then she gets the news that she got the axe from art school. She was on the waiting list, but it was supposed to this really easy thing, but now it was not going to happen. At that same time, I got a call from the studio head—and it’s bad news when the studio head calls you. My phone didn’t even work; I had to check in to this tiny little hotel to take the phone call. And basically they said, “We decided that we don’t want to pull the trigger on your film this year.” So I walked back out, and we kind of looked at each other and said, “Okay, we have no jobs, no careers, and everything we own is on our backs.” And we thought this was a really hilarious way for two people to meet for the first time. So we went to a hotel in Sarajevo, wrote down and tacked up all the ideas on a wall, and then went back to Berlin.
Paste: I know that dealing with semi-autobiographical characters can be quite a sticky wicket. You’re dealing with your own memories, and the emotions associated with them. But then, as you allude to in the café scene, you’re also trying to make a great movie. And the things that seem interesting and poignant at the moment in real life don’t always exactly translate into a great movie. So I suspect you have to have some kind of distance as well, right?
Holdridge: That’s why it took us four years to do it. (laughs)
Saasen: It’s definitely something that was on our minds constantly—how to make the movie interesting, how to have forward momentum all the time. And yeah, it was an intense and very long process to get it right.