This New York-based filmmaker began his extensive career as a musician, and one half of the acclaimed Fischerspooner electroclash duo. In the early ’00s, he became a film producer, and later a director. The Serena Variations is his third short film, and it premiered at the Raindance Film Festival. It tells the story of a violinist with undiagnosed autism, who gets the chance to work with celebrated composer. DMovies writer Victoria Luxford describes The Serena Variations as “unique enough for us to wonder what a venture length dive into his vision looks like“. Now Fischer reveals that Victoria’s hint wasn’t entirely wrong!

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Victoria Luxford – How did the idea for The Serena Variations first come about?

Warren Fischer – The idea for The Serena Variations came from my interest in exploring the emotional complexities of classical music and how the drive for perfection can shape someone’s identity. Serena’s character allowed me to delve into the pressures musicians face, not only technically but also mentally. I wanted to show how someone so focused on their craft could find themselves grappling with internal struggles that go beyond just playing music.

VL – In your director’s statement, you mention drawing on personal experiences for the film, both in terms of its themes and in content such as footage of your mother. Was that uncomfortable at all giving so much of yourself to a project?

WF – It was at times uncomfortable, but I think incorporating those personal elements was crucial to the authenticity of the story. Using footage of my mother added an emotional layer that parallels Serena’s struggles. It brought a kind of honesty to the film that helped shape its tone and themes. I believe that grounding the film in something personal made it more relatable and sincere.

VL – You also mention collaborating with neurodiverse actor Dylan Brown for the lead character Serena, a person with undiagnosed autism. What did Brown bring to the film through that collaboration?

WF – Dylan brought a deep understanding of Serena’s internal world. She was able to portray the subtleties of the character’s undiagnosed autism in a way that felt both genuine and nuanced. Her performance helped show the emotional complexities Serena faces, not just in her interactions with the world, but in how she processes and experiences it. Dylan’s contribution was essential to making Serena feel real and relatable, rather than a caricature.

VL – As well as directing and producing, you also composed the music, which plays a vital role in the storytelling. Was it difficult to fill so many roles during production?

WF – It was challenging, but the music is such a central part of the film’s narrative that it made sense for me to handle it myself. The score had to reflect the emotional journey Serena goes through, and composing it allowed me to connect the musical and visual elements more closely. Balancing multiple roles required a lot of focus, but ultimately, it helped the film maintain a cohesive vision.

VL – The film portrays both the positive and negative aspects of taking psychedelics for inspiration. How did you achieve that balance?

WF – It was important to show both sides of the experience. Psychedelics can be a powerful tool for opening up new perspectives, but they also come with risks, especially when used in a high-pressure environment like Serena’s. The film reflects that duality—on one hand, Serena gains creative insight, but on the other, she also begins to lose control. I didn’t want to glorify or demonise psychedelics, just present them as a complex part of her artistic journey.

VL – Was drawing parallels between Serena’s journey and that of Niccolò Paganini always intended? Is he an inspiration for your music?

WF – Yes, the connection to Paganini was intentional. He represents a kind of virtuosity that Serena aspires to, but his almost mythical status also carries a burden. Paganini’s music is technically demanding, but it’s the emotional intensity behind it that really resonates with Serena. She’s striving for that same level of mastery but finds herself confronting the personal costs that come with it.

VL – One of the major plot points is Serena’s need for the attention of Ann (Renata Friedman), the composer she is working with. Stories of toxic power dynamics in the music industry feature in a number of films, with Whiplash (Damien Chazelle, 2014) and Tár (Todd Field, 2022) being notable examples. What is it about the mentor-mentee relationship in music that leaves so much room for abuse?

WF – The mentor-mentee dynamic in music is often built on an imbalance of power. In classical music, in particular, success is closely tied to the approval of mentors and peers. Violin sections, for example, are ranked from best to worst, creating a competitive environment that can foster toxic dynamics. Mentors hold the keys to opportunities, and mentees, like Serena, may be willing to endure difficult situations for the chance to prove themselves. This creates a setting where personal boundaries can be easily crossed in the name of artistic growth.

VL – Another theme is the pursuit of perfection, something that drives Serena to the edge. Is this something you’ve seen in your career?

WF – Yes, it’s something I’ve seen in many creative fields, but especially in music, where technical perfection is often the standard by which musicians are judged. The constant push to be better, to be perfect, can be incredibly draining, both physically and mentally. In an orchestra, musicians are ranked, and there’s always pressure to move up, which adds to the competitive nature of the environment. For Serena, that pursuit becomes all-consuming, and the film explores the cost of striving for something that may not even be attainable.

VL – Finally, are there any projects you plan to direct in the future?

WF – Yes, I’m currently working on a feature-length screenplay of The Serena Variations that expands on the themes of the short film and takes the story in some surprising new directions. I’m excited to explore Serena’s world more deeply and bring out new layers of the characters and their relationships.

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Warren Fischer is pictured at the top of this interview. The other image is a still from The Serena Variations.