Can you tell us about your latest film project and the process you went through in bringing it to life?

Carousel is my first film. It took me a couple of years to write the screenplay and several months to secure financing. I was greatly assisted by an experienced crew.

 

What inspired you to become a filmmaker and pursue a career in the film industry?

I was inspired to become a filmmaker because there are certain ideas the public needs to be aware of. Stories are the best ways of transmitting ideas and movies are the most effective means of storytelling capable of reaching a wide audience. I was also very angry with the trajectory of modern society and living under surveillance. Carousel is my protest. In many ways it’s an irresponsible movie; some of the ideas may be too much for certain audiences.

 

What challenges did you encounter during the filmmaking process and how did you overcome them?

The main challenges during filming related to schedule and budget. We had a limited production window and when certain film locations fell through we had to improvise. Because of the film’s subject matter (conspiracies, JFK), the production was also under a subtle campaign of harassment and surveillance by various Law Enforcement Organizations.

 

What was the most memorable moment for you during the production of your film?

Can you share any interesting anecdotes or behind-the-scenes stories from the making of your film?

For me, the most memorable moment was the first day of production. I looked around to see lights, cameras, crew, and actors and it suddenly felt real that I was making a movie. All the years of preparation were  finally being realized. A funny anecdote was during the filming of our set piece where protestors are ambushed with hobby drones attached with explosives. Even though no actual explosives were used, I noticed a number of actual undercover agents monitoring the scene.

 

How do you approach storytelling in your films? What themes or messages do you try to convey?

I have a background in comic books, so my storytelling approach is primed for iconic visuals and inserts. I’m also trying to get certain themes and messages across in a subliminal manner. Certain ideas are too dangerous to discuss publicly or too big to explain so they have to be expressed indirectly. For example, Stanley Kubrick’s The Shinning is ostensibly a ghost story/horror movie. At least, that’s the surface narrative. Upon multiple viewings though, it becomes clear that there’s a deeper story relating to the Native American holocaust and Federal reserve policy. Kubrick expresses this story through set decoration (The Colorado Lounge, the Gold Room) and props (Jack’s typewriter was the same model used by Nazis at Auschwitz). Carousel’s deeper story relates to a certain conspiracy that occurred in Dallas.

 

What is your preferred genre of filmmaking and why? Are there any specific directors or filmmakers who have influenced your work?

I wasn’t thinking of a particular genre when I wrote Carousel, other than I wanted to write something that explored conspiracies. Some conspiracies are real (Epstein), some are false (QAnon); either way, conspiracy theories have gone mainstream and are effecting society (January 6th). Stanley Kubrick, David Fincher, Michael Mann, and Shane Carruth have influenced me. Alan Moore (V for Vendetta) is a comics writer who influenced me in terms of how important imagination is to storytelling.

 

How do you select your cast and crew for your film projects? What qualities do you look for in collaborators?

My producer and assistant director Mike Mills selected an experienced crew of indie from Oklahoma. Their knowledge of filmmaking greatly made up for my lack of film school. What I want from collaborators are good vibes and smart suggestions.

 

How important do you think film festivals are for independent filmmakers, and what has been your experience with film festivals so far?

I think film festivals are very important to independent filmmakers for recognition and networking. It can be difficult for independent filmmakers to overcome industry barriers on their own.

 

Can you tell us about any awards or recognition your films have received and how they have impacted your career?

So far we’ve had a private screening that went well. The audience really enjoyed the movie. Carousel was awarded Best Drama by After Life Film Festival and selected by Europe Independent Movie Festival.

 

How do you handle feedback and criticism of your films? How do you use it to improve your craft?

I think it’s very important to be open to criticism. If it’s valid, it can be used to improve yourself as an artist.

 

What do you enjoy most about the process of filmmaking? Is there anything you find particularly challenging?

I enjoy thinking about story plot and fitting scenes together like a puzzle. I really don’t enjoy production because of how stressful it is, like constant PTSD. Postproduction has been fun because it’s more laid back and it’s interesting to edit scenes in different ways.

 

How do you approach the distribution of your films? What strategies do you employ to reach a wider audience?

I enjoy thinking about story plot and fitting scenes together like a puzzle. I really don’t enjoy production because of how stressful it is, like constant PTSD. Postproduction has been fun because it’s more laid back and it’s interesting to edit scenes in different ways.

 

What advice do you have for aspiring filmmakers who are just starting their journey in the film industry?

For aspiring filmmakers, they shouldn’t be afraid of not having the technical knowledge of film school. Having a clear vision is the most important thing. A knowledgeable crew can get them over any knowledge gaps.

 

Finally, can you share with us your future plans and upcoming projects as a filmmaker?

If the Deep State doesn’t suicide me first, I have an Area 51 television show I would like to make.