What initially sparked your interest in becoming 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.

 

How would you describe your shooting style?

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.

 

Which filmmakers or writers have most influenced your craft?

David Lynch, Quentin Tarantino and Ari Aster, as far as writing and directing, are just magnificent. I love the films of Michael Haneke, the Coen Brothers, Robert Eggers, Paul Verhoeven, Julia Ducournau, Pedro Almodovar, Andrei Tarkovsky, David Fincher, Claire Denis, Emerald Fennell, Yorgos Lanthimos and so many others.

 

Is there a specific movie or TV show that has inspired you on your writing journey?

I think I first noticed the brilliance of the writing of the film while I was watching it during the Coen Brothers’ “No Country For Old Men”. It was magical, supremely realistic, unflinching. Just incredible writing and payoff. But since then, I notice it in so many filmmakers.

 

How do you approach the process of researching and gathering information for your projects?

I don’t guess or wing it. If there’s something to make a background or element or location accurate, or be correct about a profession, anything really, I look into every single aspect to make sure it’s real. Realism, honesty and genuineness is the goal. I research facts, I talk to people. I seek out experts. I study intently to make sure I can achieve earned emotion and storytelling without manipulation or shortcuts.

 

Could you share some insights about your filming routine? For example, there are directors who, before shooting a shot, rehearse it with the actors separately so that when it's time to shoot they are ready. Other directors prefer to shoot directly and take takes and perfect them.

I don’t like rehearsal at all. Rehearsal spaces aren’t the set. And the possibility that the best take I see might be in rehearsal, or that the performance could change, is something I want to guard against. The actors are professionals who know their characters. Once cast, it’s their character, and they know what they’re doing. The magic happens when they take their marks and go. I would rather do ten takes and use the best one there than know that some of the potential magic happened during a rehearsal and we couldn’t get it back. Rehearsal also takes something away from the immersion of the film setting.

 

How do you strike a balance between incorporating your own creative ideas and meeting the expectations of producers and directors?

Well, since I write and direct, it’s pretty easy. What I always do, however, is collaborate and delegate with the cast and crew. I make sure it’s a team effort and that any and all ideas or suggestions are encouraged and welcome.

 

In your latest project, what motivated you to address the specific themes and themes you chose?

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.

 

Were there any unexpected twists or developments in the filming process of your latest work? How did you adapt to them?

One. 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.

 

Could you tell us about any interesting new projects or collaborations you are currently working on or planning for the future?

I shot my second feature, “Immersion” in the summer of 2023. It is currently nearing the end of post-production, and I expect it to be ready for submission before this summer. Two feature projects are in pre-production or development, “Fetish” and “Sweetener” and I am hoping to get the funding for “Sweetener” locked up.

 

Are there any genres or styles you would like to explore further as a film director?

Comedy for certain. I have a third of a script done and the actors who have seen it absolutely love it.

 

As a film director, what is your ultimate goal or aspiration? Is there a particular message or impact you hope to convey through your work?

I want to make films that are honest, don’t manipulate the audience, and are true to my vision. I want my only jobs to be a father to my three daughters and a filmmaker. I believe it is my calling.

 

Simply, I want to make films as often as possible. And I want the audience to think and debate my films afterward. I trust the intelligence of the audience and will never insult that intelligence.

 

My goal is to be known as a filmmaker.