There are great filmmakers out there, so many. Many incredible writers. When they’re allowed to make the films they envision, I love it.
1.Your project has entered in our festival. What is your project about?
Without getting into the subtle political points (because I want the audience to find things for themselves), the biggest motivation for the themes of “Group” is how much individuals in society and the social media presences of those people have blended and blurred. I think they blurred to the point that even where people need to be honest in order to improve their lives, they still want to present a different, “edited” version of themselves to others. They want to be someone they’re not even when they want to be themselves. People create an idealized self on social media, and more and more they act as that idealized version in reality.
2.What are your ambitions with your project?
I think there is a profound benefit to anyone who can see themself, their issues, their struggles, portrayed sincerely and sensitively on the screen. As a white male, it’s easy to see someone like me in film after film after film.
Many films insist upon having a perfect protagonist instead of a protagonist with relatable flaws, or with everyday issues that aren’t cinematically exaggerated. For example, someone, who for reasons partially beyond their control and partially caused by their flaws might miss a mortgage payment. Or a protagonist has a child with a major medical issue that causes them tremendous heartache and stress. These are relatable things.
Society tends to stigmatize mental health issues instead of accepting the people that suffer from the illness. They mock instead of offering help. If cinema is escapism. relatable characters can help others escape by seeing someone like them on the screen and feel accepted for a couple hours.
What I mean to say is, if someone can see a character like themself portrayed genuinely, that person may feel seen. That is my hope.
3. Tell us something about your shooting? What pleasantly surprised you?
Someone originally cast had to be replaced close to filming. It was a devastating decision, but the right one for everyone involved. I was terrified I wouldn’t find another actor. I reached out to everyone I knew and auditioned two people. One of the actors absolutely loved the script and nailed the audition and we were able to proceed on schedule as planned. His performance as garnered so many acting awards. Don Scribner I think steals the film, and it’s his original music that plays over the end credits.
4. For what group of spectators is your film targeted?
I hope anyone interested in film. It’s a slow-burn, character-driven piece. It’s been compared to a depraved “Breakfast Club”, a claustrophobic update on “12 Angry Men” and it’s also been called “needlessly disturbing”. I think all that’s true. I think the short answer is that if you don’t want to know where a film is going and you want to have an experience with realistic characters, all of whom have an arc, shot in real time, then this is for you.
5. Why should distributors buy your film?
It’s an interesting film that sensitively portrays serious issues. I think anyone watching will recognize themselves or someone they know in at least one of the characters. People discuss it after seeing it, it sticks with you, and a second watch is very rewarding. Most importantly, it showcases incredible performances.
6. How would you specify your work? What characterizes your film?
I make films that avoid tropes, are difficult to characterized, and are unpredictable without cheating or shoehorning items to achieve unearned surprise. I strive for visceral realism to the greatest extent I can, while still leaving enough room for the audience to debate. I don’t want to hold the audience’s hand. I trust the audience and their intelligence and I do not want to betray that.
7. Why did you decided to become a filmmaker?
I have always been a massive fan of film and the filmmaking process. The global pandemic forced much self-reflection. I decided if I was going to do this, it was now or never. So I went for it. I made a short Stephen King adaptation in late December of 2022 into early January of 2023 called “One for the Road”. That was my first project. I enjoyed it and it went well, but I knew I could do better. So I shot two feature films in 2023, “Group” and “Immersion”, and wrote some additional screenplays as well.
8. Who is your role model?
When it comes to filmmaking, Michael Haneke inspires me more than any filmmaker. He can do anything and do it so unflinching, any genre, dropping us into a time in the characters’ lives where we are totally engrossed.Personally, my wife and daughters are my biggest role models. They are the best part of me.
9. Which movies are your favorites? Why?
“The Godfather”. A basic answer, to be certain. It’s the defining mafia epic. The acting and cinematography and direction and scoring are all perfect. Top to bottom. The character arcs and themes of loss, regret and resignation are so incredible. So many films owe the Godfather a huge debt. And TV shows like “Breaking Bad” had Godfather DNA in their makeup.”Lawrence of Arabia”. I think that, along with “2001”, it’s the most gorgeous film ever made. But Sir David Lean didn’t need to set his film in the vast unknown expanse of space to give us something otherworldly and beautiful. “City Lights”. Chaplin shows the magic and emotion of perfect visual storytelling without dialogue. It’s perfect.”Mulholland Drive”. Unattainable perfection on every level.”Funny Games”. This is the last film that scared the hell out of me. I felt assaulted and Haneke left me wanting more.”The Exorcist”. The film that made me want to make horror films.”Amelie”. Proof that Disney animation isn’t needed to create the fantastical. There is pure joy in watching this film.
10. Where do you look for inspiration for your films?
I look at the world around me. My career as an attorney, fatherhood, my nightmares, art, the strangeness of everyday experience. I was talking to my wife (producer Xxena N. Rush) one night. I was standing up to take a break from writing, pen and pad in hand. I dropped the pen and it landed standing up on the hardwood floor. Nothing supernatural in that, but so odd and unlikely. That single moment of weirdness was the seed for my second feature, “Immersion”.Inspiration is everywhere. And if you look at the things around you, that you have experienced, to inspire the work I think the work will have a more natural realism and honesty in the end.
11. Which topics interest you the most?
Scientific research. Cinema. World history. I am curious about everything and interested in everything that piques my curiosity.
12. What do you consider your greatest achievement in your career?
Writing, directing and completing two feature films in 2023. It seemed impossible, but we did it. And the films have done very well in the festival circuit and gotten distribution interest. A minor miracle.
13. What do you consider most important about filming?
The story. The story. The story. To serve that, I focus on performances first. I think the director’s number one priority must be capturing the best performance. As far as shooting, I like simple eloquence and evocative visuals. Long takes with minimal cuts. I want the audience to feel they’re inside the film.
14. Which film technique of shooting do you consider the best?
I cannot say. I think if the technique or style fits the film, it’s the best technique for that film. Roger Deakins use of movement and deep focus is absolutely perfect and it makes films like “No Country for Old Men” and “Blade Runner 2049” so stunning. But his brilliant style wouldn’t work for most of Tarantino’s films in all likelihood. On the other hand, Bill Pope’s sharp contrast and importance on different colors to convey story is absolutely incredible, but he would probably be a poor match for a prestige period piece. But Pope’s technique is so fantastic. So there’s really no best technique apart from the right technique to serve the film.
15. How would you rate/What is your opinion about current filmmaking?
I think non-traditional and groundbreaking studios like A24 and Neon, and the filmmakers they’ve shown to the world, are absolutely amazing and I still get excited any time a new film is released. There’s a boldness and bravery to the works they release. On the other hand, the major studios are so focused, seemingly, on existing IP and sequels and remakes and nothing original or wholly its own. And there’s just so much of it. I love seeing something new, bold, different, artistic, inspired. I don’t care for seeing the 20th iteration of something I saw 20 years ago. There are great filmmakers out there, so many. Many incredible writers. When they’re allowed to make the films they envision, I love it. When it’s a bunch of retreading overly familiar cinematic ground, I lose any interest.
16. What can disappoint you in a movie?
When the filmmakers use manipulation to trigger sadness or fear instead of earning them. Reliance on tropes also annoy me. I would say that obvious studio interference and lack of attention to detail, if obvious, take me completely out of it.
17. Who supports you in your film career?
My wife has been my rock. Without her, nothing would have happened. It would never have started. Because of her, we have a dedicated and large group of wonderful supporters. Friends, actors, filmmakers and a wonderful group of friends and fans, particularly the incredible Pod Mortem podcast fans who embrace our work and what we do. They maintain a discord for horror film enthusiasts, and folks like TJ, Kent, Megan, Molly, Jason…all these horror fans….they have embraced us and support our work and it’s wonderful to have people like that believe in you.