Please tell us about the projects you worked on before making ‘Ghosts In the Blood’. How did you start, and how did you learn to make films?
[Isaac Cruz] Thank you so much for this question. Before making “Ghosts In the Blood” I had worked mostly as an actor. I was born in New York City and studied acting at a conservatory there. I’ve had the good fortune to work on some great projects in stage, TV and films that led me back and forth from New York to Los Angeles. I learned a lot on those sets and stages; watching what I felt worked and did not.
I got my first Production Assistant job working for an entertainment news magazine in New York. Later I also got formal production training at the Los Angeles City College Cinema/TV Department. That college was great and helped me raise money with a grant from the Golden Globes Foundation which directly impacted our bottom line for “Ghosts In the Blood”.
[Raphael Buisson Enlas] My filmmaking journey began in Paris, where, as a child, I believed actors were trapped inside the movie screen. That early fascination quickly turned into a passion. At 12, after visiting a film set, I knew I wanted to be part of the industry. In 2015, while studying at King’s College London, I immersed myself in the art of visual storytelling and became captivated by Terrence Malick’s exploration of nature vs. modernity. The following year, working as a production assistant on TIME: The Kalief Browder Story in NYC, I saw firsthand the profound impact film can have.
To sharpen my skills, I moved to LA in 2019 to pursue an MFA in Film Production at USC. Along the way, I directed feature films like Stardust (2019) and The Optimist (2024) and worked on a wide range of projects—music videos, documentaries, TV shows, VR, commercials, and features (including The Creator and Rebecca). Wearing many hats—director, writer, PA, AC, producer, editor, and cinematographer—has shaped my craft and reinforced my belief in film not only as a powerful tool for storytelling and change but as my life’s work.
Tell us about ‘Ghosts In the Blood’. How do you describe it?
[Isaac Cruz] “Ghosts In the Blood” is a proof-of-concept short film for a feature film story that I had written many years ago. The world changed from when I started the story to when I found the resources to be able to make this short film. The great thing about this story is that it is meant to change and be changed by having an intention to open the audiences’ mind toward an imaginative reality. The story revolves around the connection between Spanish Conquistadors and Taino Natives in ancient Puerto Rico.
The protagonist of the story is a science professor that is a descendent from these two cultures that went to war centuries ago. The professor is having difficulties with her personal and professional life. Flashes to the past connect these moments of disappointment in the present day with the very old wound of colonial expansion that wiped out the Tainos.
The film very delicately alludes to a quantum connection to a genetic experiment involving animals that is meant to provide a point of metaphorical discourse as well as serve as a somewhat hidden plot device. What I mean by this is that the two worlds of the past and present are gently blended in this version, with the idea of expanding the details of the new reality presented in this story. A reality where Tainos were not driven to near obliteration. This iteration of the story should scratch at the question; How would the world be different if the Tainos, the first indigenous tribe to be encountered in the European exploration of the New World, were not destroyed? It should also give the audience an opportunity to reflect of the connections of science and the mysteries of the universe.
[Raphael Buisson Enlas] Ghosts In the Blood is a modern-day story centered around a genetics professor who, while conducting an experiment, inadvertently establishes a quantum connection with his ancestors. As he grapples with this discovery, he faces a personal and professional crisis, forcing him to confront how the past shapes the present.
At its core, the film explores the question: How much of our past defines who we are, and what changes can we make once we truly acknowledge it? It’s a reflection on the weight of ancestral history and the impact it has on our choices today. Themes of love, forgiveness, and the courage to stand up for what’s right also run throughout the narrative. The professor’s journey is not just a scientific quest but an emotional one, where reconciling with the past becomes the key to finding clarity in the present.
Ultimately, “Ghosts In the Blood” delves into the tension between fate and free will, asking whether we are bound by the legacy of our ancestors or if we have the power to forge a new path.
Please tell us about your favorite filmmakers.
[Isaac Cruz] I have had deep fondness for the great directors like Martin Scorsese, Francis Ford Coppola, Stephen Spielberg and Quentin Tarantino. My favorite director is Christopher Nolan, and it hard to say that, but his work is so consistent and risky that I just must give him all the praise in the world.
Additionally, I find myself to mostly be acting, writing and producing, but I have begun directing as well. I directed one scene in “Ghosts in the Blood” that Raphael was acting in, when he was the Private Detective. Ee ended up not using the visual footage, but I thought we got some cool options. Now feel I understand filmmakers like Bradley Cooper, and even Clint Eastwood, also an LACC alumni, to a degree that would make me have to put them at the top of my favorite category, even above Christopher Nolan.
[Raphael Buisson Enlas] My cinematic work explores themes of existentialism, free will, loneliness, alienation, and dreams. I craft narratives using fragmented structures, time manipulation, and subjective perspectives, aiming to create immersive, thought-provoking experiences that require active audience engagement.
While I could name many influences, I’ve been most inspired by cinematic luminaries such as Terrence Malick, Sofia Coppola, Gaspar Noé, Michelangelo Antonioni, and Michael Mann. What fascinates me in their films is how they portray loneliness in a world that seems to outpace their characters, the tension between modernity and nature, and how capitalism reshapes not only our physical spaces but our inner lives. Their ability to balance a dreamlike atmosphere with raw, real emotions is something I deeply resonate with, both as a filmmaker and as an individual curious about the world.
These directors walk a fine line between surrealism and authenticity, and it's this unique balance that continues to inspire me in my creative journey.
If you were given a good budget, what would be your ideal project?
[Isaac Cruz] I want to work on a live-action version of the 80s animated feature film “Akira”. I have always wanted to see that story done properly. I like a lot of the elements of the story such as youthful angst blended with love, friendship, future-tech, supernatural characters along with government secrecy and corruption. It has always fascinated me.
I would also love to work on a story that I envisioned as a three film arc series called “The Runner”. There are a lot of fantasy and sci-fiction drama elements in this story that I think will make audiences fall in love with a group of out of this world characters brought together to face down a destructive force tied to one of the group’s members. The faith and loyalty of all the characters will be tested while fighting for their lives.
[Raphael Buisson Enlas] The ideal project I’d like to pursue is a film I wrote called Blue Reef, a neo-noir thriller about a hacker fugitive entangled in industrial espionage. The story follows a mentally unstable man hiding on an island of South East Asia, forced by a powerful corporation to hunt down the leader of his old hacker crew after betraying them to secure his freedom.
Set in a near-future world, the film explores the erosion of intimacy amidst the slow decay of civilization. While this decay remains a subtle backdrop, it’s rooted in ideas from philosophers, artists, and thinkers like Albert Camus, Edward Hopper and Jean Baudrillard and Guy Debord.
Visually, Blue Reef will embody the noir aesthetic, with urban settings, moody lighting, fog, tropical rain, and a sense of city alienation. Like classic noir, the film will challenge traditional notions of heroism, privacy, blending action with a deeper commentary on societal control and the human condition.
Describe how you would ensure that production is on schedule. What steps would you take?
[Isaac Cruz] One of the advantages of being forced to do a budget and schedule yourself is that you have most of the information in your head during the production. I like to think of it as a benefit if I have a limited budget, but even with a full budget and the ability to hire a line producer I would look at the entire budget and schedule along with the script. By taking the steps of analyzing each of these items and understanding them well I feel confident to make a production run smooth. Also making sure there is always fun and healthy things to eat and drink to keep the cast and crew refreshed. Finally, it is very important to give the cast and crew enough break time to enjoy their time with each other as much as possible.
[Raphael Buisson Enlas] To keep production on schedule, I focus on clear communication, precise planning, and adaptability. I create a detailed schedule from pre-production to post, ensuring all departments are aligned and building in buffer time for the unexpected.
From past projects, I’ve dealt with everything from broken equipment to last-minute actor cancellations, tight budgets, and extreme weather conditions. Staying calm under pressure and finding quick solutions is key. I check in regularly with the team to catch issues early and prevent delays from spiraling out of control.
Flexibility is crucial. Whether it's adjusting to a new location, fixing technical problems, or shifting schedules, I see every challenge as a chance to improve the process. Throughout it all, I stay focused on balancing the creative vision with the practical realities of production.
Most importantly, having the right team and maintaining open communication channels are the foundations of keeping everything running smoothly.
What was the hardest part of making ‘Ghosts In the Blood’.
[Isaac Cruz] One of the hardest parts about making this film was the editing. This was a major issue because I had an editor lined up, but they ended up not being able to work for the rate we had to offer. So, I had to step in and edit the entire film. That was daunting because there were a lot of aspects to the job I did not know, but I was about to learn on the job. I am a huge film lover obviously, so I have instincts, but getting my head around the fundamentals of downloading and cutting a film with the amount of data we had was something I almost didn’t make it through. I was fortunate to have good collaborators that made the process manageable.
[Raphael Buisson Enlas] The hardest part of making Ghosts In the Blood was when we lost our actor the night before a crucial fight scene. With no time to replace him, we had to get creative to shoot the scene without him. Staying calm, we devised a new approach that, in my opinion, made the scene even more compelling by filming the other actor being chased by an unseen enemy.
This choice not only added an element of suspense but also heightened the emotional intensity of the scene. It transformed a potential setback into an opportunity to create a more intriguing visual narrative.
Ultimately, I’m grateful to the team for their adaptability and collaboration, which led to a solution that improved the film overall.
If possible, tell us about your next work. What plans do you have for your future work?
[Isaac Cruz] There are plans for a feature version of “Ghosts in the Blood”. After that I have a few original projects being discussed, including a tragic-romance/biopic film about a heavy metal musician. That project explores a relationship between a heavy metal lead singer and his adult film star wife. We’re in pre-production for that.
I am also developing an action/drama film about motorcycle racing in Los Angeles that should be a groundbreaking original story we hope to grow into a full on saga.
[Raphael Buisson Enlas] Currently, I’m stepping into the role of cinematographer for an upcoming sci-fi feature that explores a civilization living in underwater cities and submarines.
Additionally, I’m eager to present my recent work as a director and producer, The Optimist, which is my second feature film, along with a collection of short films like Jousters and VR projects where I serve as both director and DP.
I’m also in post for another project I’ve directed and produced called Focal Point, a sci-fi film set in a dystopian future where pills erase memories. The story follows a disillusioned scientist who makes an astonishing discovery: Earth exists within a single neuron. Risking everything, he embarks on a desperate quest to find his lost son within this hidden world.
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