Please tell us about the projects you worked on before making ‘The Last Time’:
A couple projects I worked on before ‘The Last Time’ were projects I helped out with my friends and classmates. I was a Lead Character in ‘Fear and Flame’ (Cody Ericson), and ‘Your Dad’s Greatest Nightmare’ (Ethan Gathman).
Sound Designer for ‘503’ (Francis Han).
And, Grip & Electric for ‘Code Red’ (Jada Poon), ‘Chicks’ (Jorge Rodriguez) and ‘Holding Back’ (Emily McKney).
All are Ringling College of Art and Design thesis film projects.
How did you start, and how did you learn to make films?:
I guess you could say my start is when I turned 14 making funny home videos with my best friend and a first-generation iPod touch. We wanted to try to capture the same success as those sketch comedy channels in the early days of YouTube, such as Smosh, and The Annoying Orange.
When I turned 17, I attended a filmmaker’s summer camp run by the local film festival and learned that there was more to video production than goofy online comedy sketches. So that’s when I decided to take filmmaking more seriously and go to Ringling College of art design for Narrative Film and Branded Content studies.
Tell us about ‘The Last Time’. How do you describe it?:
‘The Last Time’ is about lamenting a relationship one previously had. The feeling of wanting to see them again, but most likely never will.
During 2020 I was getting into the Synthwave music genre, as well as going through a rough break up. This motivated me to try and make something, network, and contact 10eighty6 (who I came across on social media). I inquired about working with him to make a narrative-based music video of one of his tracks from the EP ‘Something To Believe In’.
Please tell us about your favorite filmmakers:
My favorite filmmakers include Quentin Tarantino, for his witty dialogue and knowledge of film genre, and film history. Being able to steal from others and being able to make it his own. Akira Kurosawa, for pioneering ways of storytelling we take for granted nowadays. And my personal favorite, Ilya Naishuller for his way of setting up/paying off. As well as the way, he makes violence look visceral and beautiful. All without getting “Lost in the Sauce” and being very down to earth. I like to take inspiration from all these directors in using what they’ve done to as similar degree of what I want to do for my films.
If you were given a good budget, what would be your ideal project?:
“n episodic Supernatural Neo-Noir with the visual style of Nicolas Winding Refn and Harmony Korine that takes place in Florida.
Describe how you would ensure that production is on schedule. What steps would you take?:
First of all, make sure there’s actually a budget. I’m all for making a lot with little, but realistically you can’t make a World War II movie with pocket lint and your backyard. So, setting realistic expectations as well as knowing the scope of what you can and cannot do with said budget. Divide out the shooting dates and figure out how many total days it would take based on each scene. I personally try to do one or two scenes a day, for a six- or eight-hour day.
And lastly do not skimp out vetting cast/crewmembers. Research everyone on the crew to make sure that they are accredited, have a good track record, get along with most of everyone and that you can trust them to do what you need them to do.
A worker you hire that has terrible communication, and terrible work ethic, is a liability and can ruin your production.
What was the hardest part of making ‘The Last Time’:
Having to be my own producer. I had a friend who was going to be my producer but had to step down because of family troubles. I completely understood and do not blame him for doing so. The only thing though is that no one else was able to step up to be a producer, so I had to do everything myself in regards to storyboarding, paperwork, communicating with the cast and crew, etc.
If possible, tell us about your next work. What plans do you have for your future work?:
I’ve been working as assistant director for A Phoenix Film (Angelina Phoenix) and
Guerrilla Underground Productions (Michael Wright) on their joint horror short film, ‘Psychodysleptic’. Which at the time of writing, is in post-production. Plans I have for future is to work on a werewolf horror short, shot locally at Sir Henry’s Haunted Trail in Plant city, Florida.
Filmed entirely in first person POV.
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