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

"Group" is my first feature film. The process, from concept to completion, was wholly unique. In a word, planning made the movie. I was discussing things with Michael Joseph Murray, our incredible director of photography, Miranda Jean Larson, our award-winning editor, our producer Xxena N. Rush and our composer, Gary Mutch, as I was writing the screenplay.

 

We were collectively working out how we would be able to complete this with a very short schedule for principal photography. I explained to the team that I was planning to shoot chronologically, shoot background scenes prior to the first day of filming, ordering special equipment to run constant two-camera setups, camera angles and the like.

 

Xxena was scouting locations simultaneously to fit the world we were creating as well as the physical specifications of the set. She was working with our casting director, Chris Rivera (who plays "Ricky" in the film as well) to wrap up the last few roles. She was working on accommodations and transportation for cast and crew.

 

Timing was so important. Gary and I were discussing the need for a minimalist score to create an uncomfortable and authentic atmosphere for the audience. Michael and I were slowly beginning to think this was possible with the time we had and he was the logical choice for assistant director (and thankfully he agreed). Miranda decided she would be on set, and we used her experience directing to have her direct the second unit, which she did brilliantly. 

 

When we started rolling on day 1, the actors were ready. We were ready. Then the magic happened. Marcus only took a few takes to get "Matt" down. We moved on to Heaven Nikitenko ("Jackie") and she CRUSHED it in one take. Tricia (who recently received a Best Actress award for her performance as "Tricia" in the film) followed with ANOTHER single take performance and it just rolled. 

 

Don Scribner, Tommy Malek (both award winners) and Marcus crushed the last scene while Michael Joseph Murray went handheld and absolutely killed it. Two takes of the last scene and we wrapped. It was magical. This film is the result, and it's absolutely fantastic.

 

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

I have loved film for as long as I can remember. You grow up watching the performances and the stories play out in the films you love. The magic of it all. As I grew older, though the magic of the performances still captured my imagination, I became fascinated with what went into creating those scenes. 

 

I watched "The Silence of the Lambs" and "The Exorcist" in the mid-90's, very close to each other, and it became my dream to make films.

 

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

The schedule, certainly. Months of preparation, diagramming, shot-listing. But we had three full days for principal photography. THREE days. We had to be perfect. The cast had to be perfect. 

 

It was an impossibility to complete this film. But we did it. Against all odds, we did it. I had the most talented crew and gifted, dedicated cast imaginable. One single weak link and it would have fallen apart. Everyone believed, came together and did their job perfectly. I still can't believe it. 

 

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

When Susan Ly ("Kaye") and Nicolas Sullivan's ("Sullie") characters have their argument. You could hear a pin drop. I still get chills watching that scene. And, again, ONE TAKE. I will never forget it. I had chills. Actors were crying. Crew was emotional. This happened a lot. When Heaven did her take, I was in tears. Don Scribner did his take and everyone was riveted. Stunned, unblinking. 

 

The work between takes was heroic, and the acting during the takes was sublime.

 

I have never been more in awe. Never prouder of a group of people than everyone who worked on this film.

 

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

Travis and Ashley Lewis are hosts of this wonderful podcast, "Dead and Married" (highly recommend!!!). Xxena and I have been fans forever. And we wanted to bring them up to set for behind-the-scenes media coverage, but of all the potential media we reached out to them because they have a fantastic horror podcast, yes, but really we just wanted to meet them since we're huge fans and they're the best. Making a feature film is a fantastic reason to have media visit the set. 

 

It was tough not to be huge fans, and we became such great friends and I was able to put them in the movie (they are credited under "Rena"'s segment). It was so fun having them with us, and to top everything off, Travis prevented a fire in catering while he was there DURING a scene! 

 

Another interesting fact is that, by way of background, Xxena N. Rush is a motivated, no-nonsense producer. She gets things done. She looked at location costs and timing and basically told me to shoot a second film that was in pre-production right after "Group" wrapped. She said I could have a day in between. So we scheduled filming for right after "Group" because that was what our producer determined was the right course. And she was absolutely right.

 

So, during "Group", when there was time for our second unit to get out into the country, I sent them to shoot establishing and atmosphere shots for our next film ("Immersion", which is nearing the end of post-production currently).

 

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

I approach storytelling with realism. I see realism, honesty, unflinching examination of humanity as the tenets of my storytelling. I want it to feel real.

 

As for themes or messages it depends on the film, but the themes I seem to come back to over and over again are realistic portrayals of women and LGBTQIA+ people. I like to explore the flaws and struggles of individuals that are mostly kept hidden in daily life. De-stigmatizing non-traditional families and mental illness. I think all my films speak positively to women's sexuality and expression. 

 

I also think that many of my stories explore taboos in a realistic way.

 

What is your preferred genre of filmmaking and why? 

Horror is definitely my preferred genre, however you define that. The reason I love horror so much is that, when it's made with sincerity, it's the most empathetic genre in film. It has the most embracing and supportive audience. It allows for the most allegorical expression in cinema. It helps people confront emotions in a healthy way, a therapeutic way. 

 

It has all the drama of the best Shakespeare with the sensation of reaching the top of the first hill of a roller coaster. Horror is more than cinema; it's a sensational experience.

 

Are there any specific directors or filmmakers who have influenced your work?

So many. Michael Haneke, Alfred Hitchcock, Agnes Varda, Luis Buñuel, Wes Anderson, Berlanga, Kubrick, Tarkovsky, Bergman, Lynch, Herzog, the Coen Brothers, Tarantino, Jane Campion. So many influences. So much inspiration.

 

How do you select your cast and crew for your film projects? 

We audition people. We have a casting director we trust implicitly. Xxena is a magnificent producer and partner. It's a collaborative process and when the right performer strikes you, you just know. 

 

Tricia Buerke is a great example of this. She auditioned for our first short film. She was wonderful, but I knew she didn't fit the role. I thought about it all day, the following day, and then just wrote a role for her. Re-wrote the whole script. And she was magnificent. 

 

So of course I cast her in "Group". And she was magnificent (and has won one Best Actress award for the role!). Well, Tricia recommended Nicolas Sullivan, and we had "Sullie" and he was amazing. The two of them recommended Don Scribner ("Dan"). 

 

Casting comes from audition, instinct, trust. You trust these people, you rely on each other, and when people like that tell you about someone they trust, it goes a long way. You trust them. That trust has paid off. 

 

What qualities do you look for in collaborators?

You choose someone based on word of mouth, personal meetings, etc. When they actually show up and work with you, you know if they're someone you want to work with based on how they approach the job and how they treat others. Everyone on Group...EVERYONE...I want to work with again and again and again. I have worked with the whole cast and crew more than once, sometimes three times (with more scheduled). 

 

What I want in a collaborator is someone who knows they have autonomy, someone to tell me when I am wrong and why and fight for their position. These people are presenting their opinion to me, when it differs from mine, in order to make the best possible version of my vision. 

 

Who wouldn't love to work with someone who will voice their opposition (always friendly, professionally) to you because they want your vision to come to life? 

That's collaboration. That's trust. Those are the people I want to work with.

 

If you want to know the cast and crew it is my dream to work with, just read the credits for "Group". There's your answer.

 

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

HUGELY important. It's vital. It's the lifeline of the independent filmmaker. Politics don't come into play (or shouldn't). So far, it has been wonderful. To see my film screened in New York City, Paris, India...it's magic. Festivals like War of Films are the venue for anyone that cares for the art of cinema.

 

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

We have been absolutely blessed. We have been recognized with Best Feature Film, Best Ensemble, Best Editing, Best Actor and Actress awards, Best Director, Best Thriller, Best Horror, Best Art House, and many more, multiple times each. It's an honor so profound that I cannot comprehend it. 

 

When Tricia Buerke, Don Scribner and Tommy Malek all won best acting awards on the same day that Xxena N. Rush and Miranda Jean Larson were awarded I was moved to tears. Seeing all those names together on a winner's list right in a row: Don, Tricia, Xxena, Miranda. THAT moment was the highlight of my career. It will be hard to top.

 

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

If I know the critic has watched the film, I welcome it. I flat-out ASKED for it from cast and some crew following my first film, a short film. I made them tell me everything I did wrong and everything I need to improve. They told me, and I followed every bit of advice for "Group". I am deeply thankful for honest criticism. It is absolutely an opportunity to improve, and I want to improve. Always.

 

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

It's all a challenge. You manage many, many people and they all turn to you. The idea of letting the cast and crew down sickens me, haunts me, and I do all I can to not let that happen.

 

And that is what I enjoy so much about filmmaking. I get to create art surrounded by people that I respect and care for so deeply that my greatest fear is disappointing them.

 

Murray, Gary Mutch, Miranda, Xxena, Tricia, Sullie, Haulston, Ashley and Travis, Michael Lake and Michael Competielle, Susan...the entire cast and crew!...being around such wonderful people who are so insanely talented is a privilege. It's an honor. They deserve greatness. 

 

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

I am still working on that. Right now, it's about festivals. Recognition. Showing the film to audiences. I believe people seeing the film will lead to distribution and more audiences. It's a great film with absolutely sublime performances. It's brilliantly shot, gorgeously edited, wonderfully scored and sublimely acted. 

 

It will find its audience. It already has started to find its audience.

 

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

Tarantino supposedly said that the best film education is to make a movie with no money. I did that, and I agree.

 

What I also did was listen to everyone who told me to avoid the arts for twenty-plus years. I advise everyone to pursue their passion. Create art. 

 

Regret is worse than failure, especially if you never try. 

 

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

Absolutely! "Immersion" is nearing the end of post-production (and may be submitted to your incredible festival in the coming months). "Fetish" is my next feature to shoot, and we are working with cast, crew, wardrobe department and so forth to get scheduling together so we can shoot that.

 

"Sweetener" is a completed screenplay, which has been nominated and awarded in festivals, which I hope to shoot early next year depending on what happens in the festivals. 

 

"Drag: The Most Targeted Artform" is a documentary I am co-directing with Jordyn Gualdani. Xxena N. Rush and I are executive producers on a short horror film directed by the brilliant Haulston Mann called "The Cottage" starring Sophia Grasso and Haulston Mann (be on the lookout for that, it's going to be amazing!)