The script, penned by Hemingway friend Denne Bart Petitclerc, showcases the famous author’s influence on journalist Petitclerc (played by Giovanni Ribisi) as well as the decline of the American icon (played by theater veteran Adrian Sparks). While the Yari Film Group, led by director Bob Yari, had circled the rights to the film for nearly a decade, the timing seemed off. Yari hoped to film on location in Cuba, rather than in a stand-in such as the Dominican Republic, but the embargo posed challenges. In the meantime, Petitclerc died and the rights reverted to his widow.

 

"Bob always thought of this screenplay and how special it was, so he went back to the writer’s widow, Wanda, and convinced her to let him take on the project,” says Harvey. “He was determined to shoot this in Cuba, where it happened.”

 

What followed were rounds of petitions to the US government to allow them to shoot the film -- classified a documentary because of its historical portrayal -- in Castro-controlled Cuba. In 2011, Harvey finally set foot on the island to scout for locations. Several more trips followed for filming, each with their own set of obstacles to overcome in the name of telling the story in the place in which it unfolded.

 

“The Cuban people love Hemingway,” Harvey says. “They think of him as one of their own. When he died, the government took over his house and preserved it. You can look in the windows and see where he used to live, but tourists are not allowed inside. It’s remarkable that they let us shoot there. We had the script translated to Spanish, and the Cuban government didn’t come back with any changes. No censorship. They were just proud to be a part of it.” 

 

Yari, who chose Harvey to produce based on previous experiences with her, says filming in Cuba brought challenges many might not expect.

 

"Producing is a tough job even in the US," Yari says. “Its biggest component is problem solving. Actor issues, scheduling, locations, wardrobe. With Cuba, it was just compounded You’re working in a place that doesn’t have infrastructure, on a limited budget with a limited amount of time. If it wasn’t for Amanda and her ability to work around things and juggle, which allowed me to focus on directing, I’m not sure this film would ever have been made.” 

 

Jane Anderson, the designer/stylist for PAPA, agrees. From spotty Internet service to multiple location and prop challenges, Harvey managed to keep the group on task and in good spirits. “We didn’t have enough hangers,” says Anderson, “so the clothes were in piles. In some locations, we were working out of a truck. I had no room to cut and fit fabrics. But there’s a difference when the person at the top is positive. That’s what you need: someone saying, ‘We’re going to get there. We are going to finish this film.’” Anderson said Harvey’s engineering mind helped put all the pieces in place for success.

 

“Two generations of my family went to Purdue,” says Harvey, who followed in her mother, Betsey Harvey’s (EDU’60), footsteps.

 

--This story by Tanya G. Brown originally appeared in the March/April 2016 issue of Purdue Alumnus magazine.