Pamela French is a New York-based independent producer/director who specializes in fly-on-­the-­wall films. French began her career making independent avant-garde shorts with New York artists. After a long and fruitful tenure at MTV, she went on to document and promote artists in dance, music, and the visual arts for Channel 13’s award-winning “City Arts.” French also produced “Listen Smart,” an educational film — on permanent exhibition at the Rock and Roll Hall of Fame — about hearing loss within the music industry.

“Becoming More Visible” will premiere at the 2016 DOC NYC film festival on November 11.

W&H: Describe the film for us in your own words.

PF: The film is about four fearless transgender young adults defying societal norms to be their true selves, and to become more visible. On a broad level, it’s about acceptance, fitting in, and the yearning to be loved for who you are rather than how you choose to identify. It’s about coming into your own and being strong when others try to take you down. It’s really a hopeful story about love, family, and the value of being truthful about who you really are.

W&H: What drew you to this story?

PF: As a child, I was drawn to “The Velveteen Rabbit,” a children’s book by Margery Williams. There is a rabbit in the book who learns the meaning of being “real” after being discarded by his owner, Timothy, for newer, shinier toys, and feeling unloved and worthless. He gets some life-changing advice from the Skin Horse, an older toy, as to what it means to be real.

I see the subjects of my film as Velveteen Rabbits. A bit different on the outside, but so beautiful and “real” within. They are trailblazers leading the way for others like them, and I am so empowered by their stories.

As a mother, I feel working with this population — youth who are in crisis or fearful about being accepted — is so important, especially today. Being able to tell their personal stories and share their uniqueness with the world is so empowering.

W&H: What do you want people to think about when they are leaving the theater?

PF: To be more accepting and realize the beauty in allowing everyone to be true to themselves. To stop judging a book by its cover. This seems so easy, yet it’s so hard. We are all so caught up in outer appearances and stereotypes, and what society projects on us as to what we should look like and act like.

When you see this film and meet Katherine, Sean, Olivia, and Morgin, I hope you’re enlightened by what it’s like to be a transgender person, and that if you had any negative preconceived ideas about what being transgender is, that you’ll walk away being open and non-judgmental about this population.

W&H: What was the biggest challenge in making the film?

PF: Sad to say: money and time. I did make this film pretty much on my own dime and time, and it was hard. I was blessed to have a few people generously support me when I did my Kickstarter campaign back in 2014 — and I thank them all — but, outside of that, I financed on my own.

I also want to thank a dear friend and colleague, Elizabeth Niles, a wonderful producer, who was instrumental in the editorial stages; I don’t think I could have done it without her.

W&H: How did you get your film funded? Share some insights into how you got the film made.

PF: I did a Kickstarter campaign back in January/February 2014 and was fortunate to raise $30,000. The rest I have financed on my own. Hoping to sell it soon.

W&H: What does it mean for you to have your film play at DOC NYC?

PF: New York is my home, born and bred. DOC NYC Artistic Director Thom Powers is a mentor and a friend. I cannot be more grateful to be premiering in NYC at DOC NYC. What Thom Powers and DOC NYC Executive Director Raphaela Neihausen do for this genre of film is unprecedented, and I am honored to be a part of their festival.

W&H: What’s the best and worst advice you’ve received?

PF: Best advice: “Go for it!” At times it was hard and I thought, “How can I finish this?” But my friends, colleagues, and mentors all gave me the same advice: “What you’re doing is amazing; believe in yourself and you can do anything.”

I don’t remember the worst advice because I didn’t take it.

W&H: What advice do you have for other female directors?

PF: Follow your dreams. I turned 50 is 2014 and I chose to reach for the stars and tick off things from my bucket list: making a feature documentary film was the top one. I also went back to school and got my masters and ran the NYC Marathon.

The last two years have been life-changing and I am so excited to be premiering my film in NYC at DOC NYC!

W&H: Name your favorite woman-directed film and why.

PF: Barbara Kopple’s brilliant “Harlan County, USA.”

W&H: Have you seen opportunities for women filmmakers increase over the last year due to the increased attention paid to the issue? If someone asked you what you thought needed to be done to get women more opportunities to direct, what would be your answer?

PF: My film is about being transgender. I have a hard time labeling people’s abilities based on their gender, race, color, you name it. People should be accepted for their work, and not for any other reason. But, if I had to say what needed to be done, I guess I would have to say just that we, as female filmmakers, need to support each other, and give that up-and-coming young female filmmaker a chance.

I hope that by the time this is published we have a woman president, and many more doors will be open for us. We’re on the right path.