By Sofiya Saykovska
Welcome to NYWIFT, Claire Read!
Claire is a New York-based documentary filmmaker and producer known for her work on HBO series like Telemarketers and The Vow, as well as independent documentaries covering diverse subjects. Her journey into documentary filmmaking began with a high school project on a controversial NYC community center, now culminating in Penn F—ing Station, a documentary exploring the city’s debate over its redevelopment. She crafts stories that blend emotional depth with intellectual engagement, focusing on authentic narratives and human connections.
Continue reading to discover Claire’s experience in filmmaking and learn more about her upcoming projects.
NYWIFT Member Claire Read (Photo Courtesy of Claire Read)
A warm welcome to NYWIFT! Introduce yourself, give us a brief elevator pitch!
I’m a documentary filmmaker and producer based in New York. My recent work has ranged from producing documentary series, like Telemarketers and The Vow for HBO, to directing and producing independent docs across a range of subjects.
What brought you to NYWIFT?
I’ve seen and enjoyed a couple of NYWIFT’s shorts programs at film festivals and was inspired to join myself!
Claire Read in the field recording sound. (Photo by Alex Wolfe, Courtesy of Claire Read)
What initially garnered your interest into the world of documentary filmmaking?
I first made a documentary as a high school student about the plan to build an Islamic community center two blocks from the site of the World Trade Center. I realize as I write this that it’s coming full circle – because I’m now about to release a documentary about another NYC city politics drama of a different kind and neighborhood. My upcoming film is about the debate over how to fix Penn Station and the surrounding midtown area that erupts between the city’s power brokers and residents.
Audience engagement is crucial for documentaries seeking to provoke discussion and effect change. How do you approach crafting stories that resonate with viewers on both emotional and intellectual levels?
A complex character is often the first thing that draws me in. Patience is also key, I’ve learned. Footage ages well, and stories take time to play out to their fullest and write themselves. I’m less interested in fast filmmaking (depending on the story!).
(L-R) Sam Lipman-Stern, Claire Read and Adam Bhala Lough attend the 33rd Annual Gotham Awards at Cipriani Wall Street on November 27, 2023 in New York City. (Photo by Jamie McCarthy/Getty Images, Photo Courtesy of Claire Read)
Your career has spanned projects ranging from television docuseries to independent film shorts. How do you balance creative freedom with the commercial considerations of different platforms?
I guess I like to keep busy! And whether I’m working on an independent film or a more commercial project, most of the same rules of storytelling still apply… I’m interested in bringing to light untold stories with humanity and authenticity. Hopefully there’s humor in there too!
On recent projects, this has meant following a living and breathing character and story as it unfolds. In the case of Telemarketers, a lot of that unfolding happened in past years of archival footage; and then even more happened in our present day filming. [Editor’s Note: Telemarketers has just been nominated for an Emmy! Click to read more.]
I’ve been lucky enough to work with and learn from incredible filmmakers across a range of projects, big and small. From editors, to directors, to producers, and on. I love how collaborative the process is.
Claire Read shooting the remnants of the old Penn Station for her documentary Penn F—ing Station. )Photo by Lina McGinn, Courtesy of Claire Read)
Your documentary short Penn F—ing Station received a Rooftop Filmmakers’ Fund grant and is set to premiere at DC/DOX and Rooftop Films. Could you tell us more about the inspiration behind this project and what audiences can expect from it?
Yes, Penn F—ing Station will play next at Rooftop Films as a part of their New York Nonfiction program on July 26.
Growing up in NYC, I’ve always had an unusual fondness for the infamous and detested transit hub that is Penn Station. When I noticed it was beginning to undergo renovations for the first time in decades, I felt compelled to document the station in its decrepit state (before it began to shimmer and shine like Hudson Yards).
Within days, a debate erupted over how to fix Penn Station between the city’s power brokers and residents. The film follows said ongoing battle over a new mega development plan.
Penn Station is not the sort of place that most people would point a camera towards, but to me, it became a sort of underground opera filled with endless textures, characters and even humor. Really the film is about public space and the future of NYC – the city on the precipice of change, and what power people have to determine the future of their city.
Still photo from production of Penn F—ing Station. (Photo by Lina McGinn. Courtesy of Claire Read)
Lastly, where can readers find more about you and your work, and are there any projects in the works you’d like to share?
I’ve got a few projects in the works (docs and a narrative too) that I’m excited about. Can’t say much just yet, but there seems to be a theme of complicated female protagonists in a few of them.
Up next for me is Penn F—ing Station’s NYC premiere on July 26: https://rooftopfilms.com/event/new-york-non-fiction-6/ Come check it out!
Check out Claire’s website, clairereadfilm.com.
Sofiya Saykovska
Sofiya Saykovska is an up-and-coming editor based in Long Island, NY. She is freshly graduated from the School of Visual Arts. Her works include "Good Enough", and "Disoriented", both of which were prestigiously awarded from the SVA Alumni Society. Sofiya is actively involved in various creative pursuits, including photography, dance, music, and painting. Her work often showcases her vibrant imagination and keen eye for detail.
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