Destry Allyn Spielberg, daughter of the legendary Steven Spielberg, faced initial hesitation when first introduced to the script of her directorial debut, “Please Don’t Feed the Children.” Though described as a zombie movie by her manager, she initially dismissed it. However, after other scripts failed to inspire her, she reconsidered and discovered a compelling story far beyond typical zombie fare—a tense, atmospheric tale focusing on loss and survival during a viral outbreak. The film was shot in only 18 days on a constrained budget, primarily in Santa Fe, and brought together a cast mixing fresh talent with established actors like Michelle Dockery and Giancarlo Esposito.
During a recent Zoom conversation with fellow filmmaker Bradley Cooper, Spielberg revealed her fondness for working with ensemble casts, explaining that such settings allow for authentic reactions between characters. This interview also highlighted her experiences navigating the challenges of making a first feature while establishing her own path despite the weight of her famous family name.
Filming on a Tight Schedule and Budget in Santa Fe
Bradley Cooper expressed admiration for the film’s aesthetic and asked about the production timeline. Spielberg revealed they completed filming in a grueling span of just 18 days. The limited budget and schedule required strict discipline on set, with no room for overtime. She described the overall setup as being akin to staging a play, where thorough preparation compensated for resource limitations.
The filming primarily utilized the ARRI ALEXA 35 camera paired with vintage wide lenses, favoring simplicity and practicality given the constraints. Utilizing two cameras, Spielberg and her crew focused heavily on wide shots while occasionally employing other lens types to maximize storytelling efficiency.
The Challenge and Heart Behind the Script Selection
When asked how the project came to her, Spielberg explained that she sifted through roughly 25 scripts through WME but none resonated until this one reached her manager. Despite being deterred by the “zombie” label, she read the script last and was instantly drawn to the story’s emotional core rather than its genre.
Collaborating closely with the scriptwriter from the moment she committed to the project through to shooting, Spielberg stressed that her focus was on the story’s heart. Unlike traditional zombie films, the undead elements are a late surprise rather than the central focus. She also acknowledged the financial barriers inherent in making a film with heavy visual effects, choosing to emphasize practical effects as much as possible to stay within budget.
Casting Fresh Faces and Seasoned Actors
The entire cast was assembled from scratch, with no actors pre-attached when the script arrived. Spielberg prioritized casting many new talents, seeking to infuse the film with authentic energy and performances. Among them was Zoe Coletti, who plays Mary. Notably, her father recommended Coletti after seeing her role on the hit show “Only Murders in the Building.” A self-tape submission by Coletti impressed the team immediately, securing her the role without the need to audition others.
For the pivotal matron figure, Michelle Dockery was cast after a selection process that involved script readings and videoconferences. Spielberg’s vision of this character drew inspiration from the eerie figure of Coraline’s Other Mother—a tall, dark, lanky woman who would dominate the children physically and psychologically. Dockery’s casting embodied this completely.
Giancarlo Esposito’s involvement came through mutual representation connections, and although his participation represented a considerable favor due to budget limitations, he embraced the project fully. Spielberg praised him as a smart collaborator who contributed to refining the script and brought a team-player spirit crucial for an indie film atmosphere, comparing the set’s creative mood to a “summer camp for adults.”
Preparing the Ensemble and Creating Real Relationships
Spielberg worked extensively with the young cast before shooting commenced to foster genuine relationships reflective of the story’s dynamics. She encouraged the actors to bond off-set through shared excursions like museum visits and group dinners, emphasizing the importance of feeling like a “living unit.” This approach helped ensure the ensemble’s chemistry translated naturally to the screen.
During the interview, Cooper noted his belief that everyone appeared to know each other’s experiences deeply, highlighting the difficulty of achieving such cohesion under tight conditions. Spielberg responded that this preparation was essential because the narrative was dialogue-heavy and required actors’ full commitment to maintaining presence and authenticity within multi-person scenes.
The Dual Nature of Horror and Comedy in Storytelling
Despite its suspenseful and grim themes—encompassing post-apocalyptic horror and emotional misery—Spielberg revealed that moments of levity often emerge naturally on set. She noted that humor frequently seeps into horror projects, sometimes as an involuntary release of tension or as necessary comedic relief within a dark storyline. Cooper concurred, sharing his own experience making a horror movie that was unexpectedly full of laughter.
Visual Choices and Location Significance
Cooper praised Spielberg’s directorial decisions regarding camera movement and composition, including a smooth transition between handheld shots and dolly moves. Spielberg described her careful blocking of scenes to work effectively within the limited shooting schedule while ensuring flexibility. One memorable location, a pool area used for the “halfway house” scenes, posed significant challenges when it nearly became unavailable just before filming started. Insisting on retaining that spot, Spielberg leveraged her creative vision to secure it, emphasizing the scene’s critical role in showing the character Mary isolated and overwhelmed by others surrounding her.
Upcoming Projects and Continuing with Ensemble Films
Looking ahead, Spielberg shared she is developing a murder mystery, another ensemble piece. Despite having production financing in place, casting one key role remains a challenge, as many actors prefer lead parts over ensemble work in today’s market. She reiterated her passion for ensemble storytelling, underlining the rich performances that emerge from character dynamics in collaborative environments.
Editing Process and Work Ethic Insights
Spielberg described her usual approach to editing—diving straight into post-production after wrapping principal photography. However, for her next project, she plans to take a break between shooting and editing to maintain perspective and avoid overworking herself, a habit she admits to having. She compared editing to painting, noting the importance of stepping back periodically to identify what the work still needs before continuing.
Journey to Directing and Embracing Her Calling
Reflecting on her childhood, Spielberg recalled that making films with friends was a common pastime, long before social media emerged. While initially pursuing acting, she became disillusioned after repeated struggles to book roles, prompting her to write and direct a short film called “Rosie” with a friend. This experience ignited a passion for being behind the camera, despite initial reservations about following in her father’s footsteps.
She described stepping onto the set of her short film as a spiritual moment, awakening a deep love for directing. Although initially reluctant to claim directing as her path, considering it her father’s profession, that early project crystallized her desire to focus on filmmaking rather than acting.
Final Reflections and Continued Friendship
The conversation between Destry Allyn Spielberg and Bradley Cooper ended on a warm note, with mutual appreciation and plans to reconnect beyond movie talk. They expressed how much they missed each other and anticipated future discussions about films, underlining the personal connections behind their professional achievements.
“That’s when you get really great performances because you’re getting real reactions from characters working together.” —Destry Allyn Spielberg
“I think we should do this one.” —Destry Allyn Spielberg
“How are we going to get enough money for a zombie movie?” —Destry Allyn Spielberg
“Hey, you should look at this girl.” —Steven Spielberg
“Mary needs to be at the bottom because they all need to feel like they’re ganging up on her.” —Destry Allyn Spielberg
“You guys need to go and do adventures together.” —Destry Allyn Spielberg
“You guys are living together. You need to all hang out and become friends.” —Destry Allyn Spielberg
“I’m going to write a short film and I’m going to make it with my friend.” —Destry Allyn Spielberg
“Well, why don’t I just direct it?” —Destry Allyn Spielberg
“I don’t want to do this. This is my dad’s job. I don’t want to take that from him or even try.” —Destry Allyn Spielberg
“This is what I want to do. Fuck acting. I want to be behind the camera.” —Destry Allyn Spielberg
