Filmmaker Tom Koch chatted about writing, directing, and starring in “Olive,” and working with Academy Award nominee Lesley Ann Warren on this project.
What inspired you to write and direct “Olive”?
It was a trip to a museum, where I saw a grandmother and her grandson discussing a painting, which sparked something in me. I wondered, can art heal? That moment stayed with me for months and became the seed of Olive.
I wanted to explore the different relationships that can exist within one. I used memory as a tool to discuss love and loss, and the story gradually evolved into something more personal and specific to this couple.
It became less about illness itself and more about how love adapts when reality slips away, how and do we have to hold on, even as the mind lets go?
What was it like working with Lesley Ann Warren?
It was one of the best parts of the entire process. There wasn’t much “directing” to do, per se; it was more about conversations. We spoke on the phone first, then met in New York to explore her character together.
We discussed the well of energy and frustration that she keeps (Grandma) contained; when the lid is closed, and when it opens just slightly to let emotions, frustration, or even anger, slip through.
I’m deeply grateful that we’re still in touch. Lesley has taught me so much. She has this incredible power of honesty, not just in her acting, but as a human being.
In an industry where it’s often hard to know what or who to believe, Lesley is a rare presence of truth for me. She’s always been honest, protective over the art, in a way that feels profoundly generous. I adore her.
What did this screenplay teach you about yourself?
I wrote Olive over the course of a year, and it’s hard to say exactly what it taught me… because writing, for me, always feels like reaching for something.
It’s an exploration, and at some point, you just have to trust that the characters are real enough to guide the story where it needs to go.
I think it taught me how powerful love can be, even within delusion. I wonder: do we need to be delusional to be in love? There’s something deeply human about holding on to it, even when reality starts to fade. It still makes me sad when I watch the film.
I was 24 when I wrote the screenplay, and I’m not sure why I relate so much to Sam’s desire to “stay young.”
The song that closes the film, Hier Encore by Charles Aznavour, ends with the line “Yesterday, I was still twenty,” and that always moves me; it reminds me how fragile time is, and how much I try to hold on to what’s slipping away.
Congrats on all the raves and positive feedback it has been getting… how does that feel?
It’s new for me. I read reviews and think, are they talking about me, are they talking about Olive? It doesn’t feel real at all. And to say the truth… It makes me want to write more.
How does it feel to be a filmmaker in the digital age? (Now with streaming, technology and social media being so prevalent)
It’s not easy, honestly. Just thinking about this question, I try not to use the word “content” because it has lost meaning. There’s so much being released every day, across so many platforms, that it can feel overwhelming.
When you spend two years making a film with over forty people, pouring everything into it, and then see someone dance on TikTok and reach ten million views overnight, it’s surreal.
It’s not frustrating because it doesn’t make me want to dance on TikTok, but it does make me wonder: how do we make people curious about a short film? How do we release it to a broader crowd?
What is your advice for young and emerging actors and filmmakers?
They should advise me! Haha. I’m not really sure. People often say, “Write about what you know,” but I’m not sure I agree with that. Maybe it’s more, “Know what you’re writing about.” Go deep.
And most importantly, surround yourself with people who care and who are excellent at what they do.
I think about Anthony James Faure, our producer and first AD on Olive, who was incredible at helping me stay sane. And Astrid Lark, our producer who’s been there since day one, she’s very special. You can’t make a film by yourself!
What do your plans for the future include?
Hopefully, I’ll have the chance to make more films! In France, where I’m from, in the U.S., where I live now, and anywhere stories take me.
I want to keep fishing and falling in love with ideas, becoming obsessed, working with great people, and creating pictures that move others.
Right now, I’m in development for Golden, the story of an underground fighter in New York City who does sex work to survive. It’s a raw, intimate film that explores manhood in 2025. It’s a really special piece… and it’s growing every day!
What would you like to tell our readers about “Olive”? (What’s the one thing you want them to get out of it)
There was always one idea I wanted to bring to the screen: to what extent can loneliness expand someone’s delusion?
I wanted Sam and Marie to live in isolation… The only person they ever interact with is the doctor. Solitude and time become their own characters in the film.
It’s a sad thought in a way, but I hope people leave Olive wanting to spend time with the ones they love. To be present. Because time shared with others is what keeps us grounded in reality.
Read More: Short film “Olive” review.
