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“I was a young man once. No more, no more. So this could all be a dream, but I count it as a memory…”

FROGS

a feature film from @scottpatrickwilson and @johnatheo

seeking independent financing

The poster for my latest film.

Designed by @grant.gasser , the inspiration came from art gallery placards (which I home makes the joke behind the title more obvious now).

Next week @nashfilmclub screening I will have several physical versions for cheap. Risograph printed by @risologyclub and assembled by me—each one is unique.

RSVP in @nashfilmclub bio now.

‘Idiocies’ is available to stream now at the link in my bio.

Proud of this one. Been a long road. Hope it sticks with you.

*credits in my previous post / on Vimeo*

My latest film “Untitled (Without Sound)” is now available to watch online.
It’s the funniest one yet! We make fun of everything! Even my self! Self-deprecation will always be in vogue. And doing it surrounded by a solid cast & crew (so solid we wrapped several hours early both days; if you know you know) laughing with us made it that much better.

Sean Baker’s award winning, genre-bending, “mind blowing”, only moderately good “indie” film ‘Anora’ put independent cinema in the spotlight for a small moment. It’s quite a misleading take on that side of the industry, but I digress… Instead, a shout out to some Nashville based/adjacent filmmakers out there like @scottpatrickwilson @chaserobertlochamire @joshjardim @codyduncum @thefemalegaze_nashville @harrison.shook @naylortovak @jimmernapes @silver.paris @jaycurtismiller and more. Each of them at the helm of a serious and actually indie project or two, projects that are good and worth making and coming to a screen near you. I’m sure you’ve got a project too—keep at it. And please, say whatever it is you’re saying like you mean it.

Link in bio.

My latest film “Untitled (Without Sound)” is now available to watch online.
It’s the funniest one yet! We make fun of everything! Even my self! Self-deprecation will always be in vogue. And doing it surrounded by a solid cast & crew (so solid we wrapped several hours early both days; if you know you know) laughing with us made it that much better.

Sean Baker’s award winning, genre-bending, “mind blowing”, only moderately good “indie” film ‘Anora’ put independent cinema in the spotlight for a small moment. It’s quite a misleading take on that side of the industry, but I digress… Instead, a shout out to some Nashville based/adjacent filmmakers out there like @scottpatrickwilson @chaserobertlochamire @joshjardim @codyduncum @thefemalegaze_nashville @harrison.shook @naylortovak @jimmernapes @silver.paris @jaycurtismiller and more. Each of them at the helm of a serious and actually indie project or two, projects that are good and worth making and coming to a screen near you. I’m sure you’ve got a project too—keep at it. And please, say whatever it is you’re saying like you mean it.

Link in bio.

My latest film “Untitled (Without Sound)” is now available to watch online.
It’s the funniest one yet! We make fun of everything! Even my self! Self-deprecation will always be in vogue. And doing it surrounded by a solid cast & crew (so solid we wrapped several hours early both days; if you know you know) laughing with us made it that much better.

Sean Baker’s award winning, genre-bending, “mind blowing”, only moderately good “indie” film ‘Anora’ put independent cinema in the spotlight for a small moment. It’s quite a misleading take on that side of the industry, but I digress… Instead, a shout out to some Nashville based/adjacent filmmakers out there like @scottpatrickwilson @chaserobertlochamire @joshjardim @codyduncum @thefemalegaze_nashville @harrison.shook @naylortovak @jimmernapes @silver.paris @jaycurtismiller and more. Each of them at the helm of a serious and actually indie project or two, projects that are good and worth making and coming to a screen near you. I’m sure you’ve got a project too—keep at it. And please, say whatever it is you’re saying like you mean it.

Link in bio.

My latest film “Untitled (Without Sound)” is now available to watch online.
It’s the funniest one yet! We make fun of everything! Even my self! Self-deprecation will always be in vogue. And doing it surrounded by a solid cast & crew (so solid we wrapped several hours early both days; if you know you know) laughing with us made it that much better.

Sean Baker’s award winning, genre-bending, “mind blowing”, only moderately good “indie” film ‘Anora’ put independent cinema in the spotlight for a small moment. It’s quite a misleading take on that side of the industry, but I digress… Instead, a shout out to some Nashville based/adjacent filmmakers out there like @scottpatrickwilson @chaserobertlochamire @joshjardim @codyduncum @thefemalegaze_nashville @harrison.shook @naylortovak @jimmernapes @silver.paris @jaycurtismiller and more. Each of them at the helm of a serious and actually indie project or two, projects that are good and worth making and coming to a screen near you. I’m sure you’ve got a project too—keep at it. And please, say whatever it is you’re saying like you mean it.

Link in bio.

//// TheHatredOfCinema.mov \\\\ - 3 of 3

Everyone knows music is the highest art form, and cinema’s relationship with music is a very simplified one. You have an inevitable collision of sound and image, and an audience member almost immediately knows how they feel about it. There’s a reason why both a film and its soundtrack can be individually iconic.

This film contains a healthy dose of music—in these clips we’ve got some bangers by Beethoven and Ravel—but within the context of the project these songs take on a different meaning charged with irony.

You’ll notice the narrator (me) speaking with you via subtitles in the final clip. I’ve always found it easy to believe the immediacy of a subtitle that isn’t translating foreign language dialogue as a direct line to the writer. Writing on screen, but immediately, so it feels more like conversation, in some weird, digital, instantaneous way.

The second clip is from that same project I mentioned before with @boliverb—it was near the holidays, and Oliver was conjuring out the refraction of my face in some natural Greek wine we couldn’t stop drinking back then.

The first clip is me baking cookies alone after the woman in the film has chosen someone else. The worst part is that while I’m baking them I soon discover my oven to be infested with moths.

The complete film is now up on YouTube (feels more democratic that way, even though the YouTube we love is dying) should you have any further interest in contextualizing the innate and awful fragmentation of social media. Link in my bio. Either way, thanks for playing this little Insta game with me.

//// TheHatredOfCinema.mov \\\\ - 3 of 3

Everyone knows music is the highest art form, and cinema’s relationship with music is a very simplified one. You have an inevitable collision of sound and image, and an audience member almost immediately knows how they feel about it. There’s a reason why both a film and its soundtrack can be individually iconic.

This film contains a healthy dose of music—in these clips we’ve got some bangers by Beethoven and Ravel—but within the context of the project these songs take on a different meaning charged with irony.

You’ll notice the narrator (me) speaking with you via subtitles in the final clip. I’ve always found it easy to believe the immediacy of a subtitle that isn’t translating foreign language dialogue as a direct line to the writer. Writing on screen, but immediately, so it feels more like conversation, in some weird, digital, instantaneous way.

The second clip is from that same project I mentioned before with @boliverb—it was near the holidays, and Oliver was conjuring out the refraction of my face in some natural Greek wine we couldn’t stop drinking back then.

The first clip is me baking cookies alone after the woman in the film has chosen someone else. The worst part is that while I’m baking them I soon discover my oven to be infested with moths.

The complete film is now up on YouTube (feels more democratic that way, even though the YouTube we love is dying) should you have any further interest in contextualizing the innate and awful fragmentation of social media. Link in my bio. Either way, thanks for playing this little Insta game with me.

//// TheHatredOfCinema.mov \\\\ - 3 of 3

Everyone knows music is the highest art form, and cinema’s relationship with music is a very simplified one. You have an inevitable collision of sound and image, and an audience member almost immediately knows how they feel about it. There’s a reason why both a film and its soundtrack can be individually iconic.

This film contains a healthy dose of music—in these clips we’ve got some bangers by Beethoven and Ravel—but within the context of the project these songs take on a different meaning charged with irony.

You’ll notice the narrator (me) speaking with you via subtitles in the final clip. I’ve always found it easy to believe the immediacy of a subtitle that isn’t translating foreign language dialogue as a direct line to the writer. Writing on screen, but immediately, so it feels more like conversation, in some weird, digital, instantaneous way.

The second clip is from that same project I mentioned before with @boliverb—it was near the holidays, and Oliver was conjuring out the refraction of my face in some natural Greek wine we couldn’t stop drinking back then.

The first clip is me baking cookies alone after the woman in the film has chosen someone else. The worst part is that while I’m baking them I soon discover my oven to be infested with moths.

The complete film is now up on YouTube (feels more democratic that way, even though the YouTube we love is dying) should you have any further interest in contextualizing the innate and awful fragmentation of social media. Link in my bio. Either way, thanks for playing this little Insta game with me.

//// TheHatredOfCinema.mov \\\\ - 2 of 3

As you probably noticed last week, I spent only $307 to shoot this film. A little more after that for film festivals that are nonsensically expensive in this country.

The next three clips lean in to the delusion and tenderness of the dynamic set up in the earlier part in the film.

@scottpatrickwilson making out with himself was taken from Chekhov. He’s playing two roles at once, hence the mirror (metaphor).

The text on the black screen is a conversation without images that, in my opinion, still achieves a deep cinematic feeling. This technique appears several times throughout the film.

The third clip is taken from a film project @boliverb and I made during the pandemic. We posted about it, but it was a “quiet release” thing too: long form episodic, trapped at home, direction-less conversations, etc.

My narrations in terrible Kiwi dialect were mostly improvised. I figured if R.Pat could get away with his dialect silliness in ‘The Lighthouse’ then so could I… a few martinis really helped convince me that I was correct. That and the fact that I’m playing a character, a version of myself, the director, walking you through the film and planting ideas in your mind that may not be immediately obvious.

Ultimately, this is a film about love, not hate. I only use that word in the title to convince audiences to watch. Cinema’s ideas are failed by cinema’s actuality, by its innate failure in communicating those ideas with resonant truth. Ideas are beyond light, sound, and motion; but these are the tools we have chosen, so cinema is born again and again in the light.

These clips star @scottpatrickwilson and @boliverb, two of my very closest and favorite friends/collaborators. This film would not exist without them, much less contain any amount of intrigue.

//// TheHatredOfCinema.mov \\\\ - 2 of 3

As you probably noticed last week, I spent only $307 to shoot this film. A little more after that for film festivals that are nonsensically expensive in this country.

The next three clips lean in to the delusion and tenderness of the dynamic set up in the earlier part in the film.

@scottpatrickwilson making out with himself was taken from Chekhov. He’s playing two roles at once, hence the mirror (metaphor).

The text on the black screen is a conversation without images that, in my opinion, still achieves a deep cinematic feeling. This technique appears several times throughout the film.

The third clip is taken from a film project @boliverb and I made during the pandemic. We posted about it, but it was a “quiet release” thing too: long form episodic, trapped at home, direction-less conversations, etc.

My narrations in terrible Kiwi dialect were mostly improvised. I figured if R.Pat could get away with his dialect silliness in ‘The Lighthouse’ then so could I… a few martinis really helped convince me that I was correct. That and the fact that I’m playing a character, a version of myself, the director, walking you through the film and planting ideas in your mind that may not be immediately obvious.

Ultimately, this is a film about love, not hate. I only use that word in the title to convince audiences to watch. Cinema’s ideas are failed by cinema’s actuality, by its innate failure in communicating those ideas with resonant truth. Ideas are beyond light, sound, and motion; but these are the tools we have chosen, so cinema is born again and again in the light.

These clips star @scottpatrickwilson and @boliverb, two of my very closest and favorite friends/collaborators. This film would not exist without them, much less contain any amount of intrigue.

//// TheHatredOfCinema.mov \\\\ - 2 of 3

As you probably noticed last week, I spent only $307 to shoot this film. A little more after that for film festivals that are nonsensically expensive in this country.

The next three clips lean in to the delusion and tenderness of the dynamic set up in the earlier part in the film.

@scottpatrickwilson making out with himself was taken from Chekhov. He’s playing two roles at once, hence the mirror (metaphor).

The text on the black screen is a conversation without images that, in my opinion, still achieves a deep cinematic feeling. This technique appears several times throughout the film.

The third clip is taken from a film project @boliverb and I made during the pandemic. We posted about it, but it was a “quiet release” thing too: long form episodic, trapped at home, direction-less conversations, etc.

My narrations in terrible Kiwi dialect were mostly improvised. I figured if R.Pat could get away with his dialect silliness in ‘The Lighthouse’ then so could I… a few martinis really helped convince me that I was correct. That and the fact that I’m playing a character, a version of myself, the director, walking you through the film and planting ideas in your mind that may not be immediately obvious.

Ultimately, this is a film about love, not hate. I only use that word in the title to convince audiences to watch. Cinema’s ideas are failed by cinema’s actuality, by its innate failure in communicating those ideas with resonant truth. Ideas are beyond light, sound, and motion; but these are the tools we have chosen, so cinema is born again and again in the light.

These clips star @scottpatrickwilson and @boliverb, two of my very closest and favorite friends/collaborators. This film would not exist without them, much less contain any amount of intrigue.

//// TheHatredOfCinema.mov \\\\ - 1 of 3

My feature “The Hatred of Cinema” in immediately digestible clip format.

Here lies the start of a library of preemptive teasers gearing up toward the quiet online release of a weird film.

It’s made up of some original footage @scottpatrickwilson and I wrote and shot, both together and separate. It also borrows from every film project of mine up to 2021 (pretty much all of them starring @naylortovak , of course). It’s a story full of its references, sometimes literally.

The film is 1h 17m in total—these clips do have a chronology to them that will become more obvious when watching the feature-length film.

Consider “The Hatred of Cinema” as a proof of concept for a film that will never exist (Godard divined that idea from me right before he died in Switzerland, so I stole a couple of things from him to make it a fair trade). The real film, the better film, is only suggested to you using my images, words, and sounds. The combination of these things, happening over time, is what brings the real film to the surface of your mind. Montage where the final cut exists beyond a screen, creating new pictures you must imagine in real time. My film is meant to be only the scaffolding uniquely designed to support your film.

These clips star @scottpatrickwilson @emilyynotinparis @allisonshrum @naylortovak and my drunken hybrid narrator dialect which we can talk more about later.

//// TheHatredOfCinema.mov \\\\ - 1 of 3

My feature “The Hatred of Cinema” in immediately digestible clip format.

Here lies the start of a library of preemptive teasers gearing up toward the quiet online release of a weird film.

It’s made up of some original footage @scottpatrickwilson and I wrote and shot, both together and separate. It also borrows from every film project of mine up to 2021 (pretty much all of them starring @naylortovak , of course). It’s a story full of its references, sometimes literally.

The film is 1h 17m in total—these clips do have a chronology to them that will become more obvious when watching the feature-length film.

Consider “The Hatred of Cinema” as a proof of concept for a film that will never exist (Godard divined that idea from me right before he died in Switzerland, so I stole a couple of things from him to make it a fair trade). The real film, the better film, is only suggested to you using my images, words, and sounds. The combination of these things, happening over time, is what brings the real film to the surface of your mind. Montage where the final cut exists beyond a screen, creating new pictures you must imagine in real time. My film is meant to be only the scaffolding uniquely designed to support your film.

These clips star @scottpatrickwilson @emilyynotinparis @allisonshrum @naylortovak and my drunken hybrid narrator dialect which we can talk more about later.

//// TheHatredOfCinema.mov \\\\ - 1 of 3

My feature “The Hatred of Cinema” in immediately digestible clip format.

Here lies the start of a library of preemptive teasers gearing up toward the quiet online release of a weird film.

It’s made up of some original footage @scottpatrickwilson and I wrote and shot, both together and separate. It also borrows from every film project of mine up to 2021 (pretty much all of them starring @naylortovak , of course). It’s a story full of its references, sometimes literally.

The film is 1h 17m in total—these clips do have a chronology to them that will become more obvious when watching the feature-length film.

Consider “The Hatred of Cinema” as a proof of concept for a film that will never exist (Godard divined that idea from me right before he died in Switzerland, so I stole a couple of things from him to make it a fair trade). The real film, the better film, is only suggested to you using my images, words, and sounds. The combination of these things, happening over time, is what brings the real film to the surface of your mind. Montage where the final cut exists beyond a screen, creating new pictures you must imagine in real time. My film is meant to be only the scaffolding uniquely designed to support your film.

These clips star @scottpatrickwilson @emilyynotinparis @allisonshrum @naylortovak and my drunken hybrid narrator dialect which we can talk more about later.

‘Untitled (Without Sound)’ photos by @joshjardim , the SLR wunderkind

Beautiful paintings by @evanboutteaccount , expressionistic light by @codyduncum , confused meanderings by me …

‘Untitled (Without Sound)’ photos by @joshjardim , the SLR wunderkind

Beautiful paintings by @evanboutteaccount , expressionistic light by @codyduncum , confused meanderings by me …

‘Untitled (Without Sound)’ photos by @joshjardim , the SLR wunderkind

Beautiful paintings by @evanboutteaccount , expressionistic light by @codyduncum , confused meanderings by me …

‘Untitled (Without Sound)’ photos by @joshjardim , the SLR wunderkind

Beautiful paintings by @evanboutteaccount , expressionistic light by @codyduncum , confused meanderings by me …

‘Untitled (Without Sound)’ photos by @joshjardim , the SLR wunderkind

Beautiful paintings by @evanboutteaccount , expressionistic light by @codyduncum , confused meanderings by me …

‘Untitled (Without Sound)’ photos by @joshjardim , the SLR wunderkind

Beautiful paintings by @evanboutteaccount , expressionistic light by @codyduncum , confused meanderings by me …

‘Untitled (Without Sound)’ photos by @joshjardim , the SLR wunderkind

Beautiful paintings by @evanboutteaccount , expressionistic light by @codyduncum , confused meanderings by me …

‘Untitled (Without Sound)’ photos by @joshjardim , the SLR wunderkind

Beautiful paintings by @evanboutteaccount , expressionistic light by @codyduncum , confused meanderings by me …

‘Untitled (Without Sound)’ photos by @joshjardim , the SLR wunderkind

Beautiful paintings by @evanboutteaccount , expressionistic light by @codyduncum , confused meanderings by me …

‘Untitled (Without Sound)’ photos by @joshjardim , the SLR wunderkind

Beautiful paintings by @evanboutteaccount , expressionistic light by @codyduncum , confused meanderings by me …

Shot on what Oscar-winner Hoyte van Hoytema christened “that incredible new hip thing called celluloid”, I’m introducing my latest film: Untitled (Without Sound).

It’s a film that @naylortovak and I came up with one night over dinner. That original idea comprises only the first half of this now auto-fictional automobile accident that exponentially ruins itself in real time, but just in time for all of you to watch.

We will be having a small, local screening w/ @nashfilmclub very soon—follow them for details and RSVP instructions.

———————————————————————————

Starring: @naylortovak, John Schuck, and @johnatheo

Paintings by @evanboutteaccount

Produced by @naylortovak and @johnatheo

Written & Directed by @johnatheo

Cinematographer: @codyduncum
1AC: @logthemac
2AC/Loader: @ryannbauguess

Gaffer: @jasonwain & @jayrobande
Grip/Dolly Grip: @kanelingle

Art Director: @emi.leigh
Still Photographer: @joshjardim

Prod. Sound Mixer: @_huntervickers_
Boom Op: @stevemccann2112

PA: @shannon.sees
PA: @lukeanselll
PA: @harrison.shook

Picture & Sound Editor: @joshjardim
Colorist: @ryan_h_berger
Graphic Design: @grant.gasser
Titles: @joshjardim

Equipment: @dbvrentals
Lab Services: @cinelabboston @kodak_shootfilm
Catering: @mijogordito

Thanks: @rogerpistole @melissamichalak @mccrayagency @theofficialmattlogan @onlocationwithvalerie @taylorviera @milavilaplana @dreambabystudio

Shot on what Oscar-winner Hoyte van Hoytema christened “that incredible new hip thing called celluloid”, I’m introducing my latest film: Untitled (Without Sound).

It’s a film that @naylortovak and I came up with one night over dinner. That original idea comprises only the first half of this now auto-fictional automobile accident that exponentially ruins itself in real time, but just in time for all of you to watch.

We will be having a small, local screening w/ @nashfilmclub very soon—follow them for details and RSVP instructions.

———————————————————————————

Starring: @naylortovak, John Schuck, and @johnatheo

Paintings by @evanboutteaccount

Produced by @naylortovak and @johnatheo

Written & Directed by @johnatheo

Cinematographer: @codyduncum
1AC: @logthemac
2AC/Loader: @ryannbauguess

Gaffer: @jasonwain & @jayrobande
Grip/Dolly Grip: @kanelingle

Art Director: @emi.leigh
Still Photographer: @joshjardim

Prod. Sound Mixer: @_huntervickers_
Boom Op: @stevemccann2112

PA: @shannon.sees
PA: @lukeanselll
PA: @harrison.shook

Picture & Sound Editor: @joshjardim
Colorist: @ryan_h_berger
Graphic Design: @grant.gasser
Titles: @joshjardim

Equipment: @dbvrentals
Lab Services: @cinelabboston @kodak_shootfilm
Catering: @mijogordito

Thanks: @rogerpistole @melissamichalak @mccrayagency @theofficialmattlogan @onlocationwithvalerie @taylorviera @milavilaplana @dreambabystudio

Shot on what Oscar-winner Hoyte van Hoytema christened “that incredible new hip thing called celluloid”, I’m introducing my latest film: Untitled (Without Sound).

It’s a film that @naylortovak and I came up with one night over dinner. That original idea comprises only the first half of this now auto-fictional automobile accident that exponentially ruins itself in real time, but just in time for all of you to watch.

We will be having a small, local screening w/ @nashfilmclub very soon—follow them for details and RSVP instructions.

———————————————————————————

Starring: @naylortovak, John Schuck, and @johnatheo

Paintings by @evanboutteaccount

Produced by @naylortovak and @johnatheo

Written & Directed by @johnatheo

Cinematographer: @codyduncum
1AC: @logthemac
2AC/Loader: @ryannbauguess

Gaffer: @jasonwain & @jayrobande
Grip/Dolly Grip: @kanelingle

Art Director: @emi.leigh
Still Photographer: @joshjardim

Prod. Sound Mixer: @_huntervickers_
Boom Op: @stevemccann2112

PA: @shannon.sees
PA: @lukeanselll
PA: @harrison.shook

Picture & Sound Editor: @joshjardim
Colorist: @ryan_h_berger
Graphic Design: @grant.gasser
Titles: @joshjardim

Equipment: @dbvrentals
Lab Services: @cinelabboston @kodak_shootfilm
Catering: @mijogordito

Thanks: @rogerpistole @melissamichalak @mccrayagency @theofficialmattlogan @onlocationwithvalerie @taylorviera @milavilaplana @dreambabystudio

Shot on what Oscar-winner Hoyte van Hoytema christened “that incredible new hip thing called celluloid”, I’m introducing my latest film: Untitled (Without Sound).

It’s a film that @naylortovak and I came up with one night over dinner. That original idea comprises only the first half of this now auto-fictional automobile accident that exponentially ruins itself in real time, but just in time for all of you to watch.

We will be having a small, local screening w/ @nashfilmclub very soon—follow them for details and RSVP instructions.

———————————————————————————

Starring: @naylortovak, John Schuck, and @johnatheo

Paintings by @evanboutteaccount

Produced by @naylortovak and @johnatheo

Written & Directed by @johnatheo

Cinematographer: @codyduncum
1AC: @logthemac
2AC/Loader: @ryannbauguess

Gaffer: @jasonwain & @jayrobande
Grip/Dolly Grip: @kanelingle

Art Director: @emi.leigh
Still Photographer: @joshjardim

Prod. Sound Mixer: @_huntervickers_
Boom Op: @stevemccann2112

PA: @shannon.sees
PA: @lukeanselll
PA: @harrison.shook

Picture & Sound Editor: @joshjardim
Colorist: @ryan_h_berger
Graphic Design: @grant.gasser
Titles: @joshjardim

Equipment: @dbvrentals
Lab Services: @cinelabboston @kodak_shootfilm
Catering: @mijogordito

Thanks: @rogerpistole @melissamichalak @mccrayagency @theofficialmattlogan @onlocationwithvalerie @taylorviera @milavilaplana @dreambabystudio

Shot on what Oscar-winner Hoyte van Hoytema christened “that incredible new hip thing called celluloid”, I’m introducing my latest film: Untitled (Without Sound).

It’s a film that @naylortovak and I came up with one night over dinner. That original idea comprises only the first half of this now auto-fictional automobile accident that exponentially ruins itself in real time, but just in time for all of you to watch.

We will be having a small, local screening w/ @nashfilmclub very soon—follow them for details and RSVP instructions.

———————————————————————————

Starring: @naylortovak, John Schuck, and @johnatheo

Paintings by @evanboutteaccount

Produced by @naylortovak and @johnatheo

Written & Directed by @johnatheo

Cinematographer: @codyduncum
1AC: @logthemac
2AC/Loader: @ryannbauguess

Gaffer: @jasonwain & @jayrobande
Grip/Dolly Grip: @kanelingle

Art Director: @emi.leigh
Still Photographer: @joshjardim

Prod. Sound Mixer: @_huntervickers_
Boom Op: @stevemccann2112

PA: @shannon.sees
PA: @lukeanselll
PA: @harrison.shook

Picture & Sound Editor: @joshjardim
Colorist: @ryan_h_berger
Graphic Design: @grant.gasser
Titles: @joshjardim

Equipment: @dbvrentals
Lab Services: @cinelabboston @kodak_shootfilm
Catering: @mijogordito

Thanks: @rogerpistole @melissamichalak @mccrayagency @theofficialmattlogan @onlocationwithvalerie @taylorviera @milavilaplana @dreambabystudio

Shot on what Oscar-winner Hoyte van Hoytema christened “that incredible new hip thing called celluloid”, I’m introducing my latest film: Untitled (Without Sound).

It’s a film that @naylortovak and I came up with one night over dinner. That original idea comprises only the first half of this now auto-fictional automobile accident that exponentially ruins itself in real time, but just in time for all of you to watch.

We will be having a small, local screening w/ @nashfilmclub very soon—follow them for details and RSVP instructions.

———————————————————————————

Starring: @naylortovak, John Schuck, and @johnatheo

Paintings by @evanboutteaccount

Produced by @naylortovak and @johnatheo

Written & Directed by @johnatheo

Cinematographer: @codyduncum
1AC: @logthemac
2AC/Loader: @ryannbauguess

Gaffer: @jasonwain & @jayrobande
Grip/Dolly Grip: @kanelingle

Art Director: @emi.leigh
Still Photographer: @joshjardim

Prod. Sound Mixer: @_huntervickers_
Boom Op: @stevemccann2112

PA: @shannon.sees
PA: @lukeanselll
PA: @harrison.shook

Picture & Sound Editor: @joshjardim
Colorist: @ryan_h_berger
Graphic Design: @grant.gasser
Titles: @joshjardim

Equipment: @dbvrentals
Lab Services: @cinelabboston @kodak_shootfilm
Catering: @mijogordito

Thanks: @rogerpistole @melissamichalak @mccrayagency @theofficialmattlogan @onlocationwithvalerie @taylorviera @milavilaplana @dreambabystudio

Shot on what Oscar-winner Hoyte van Hoytema christened “that incredible new hip thing called celluloid”, I’m introducing my latest film: Untitled (Without Sound).

It’s a film that @naylortovak and I came up with one night over dinner. That original idea comprises only the first half of this now auto-fictional automobile accident that exponentially ruins itself in real time, but just in time for all of you to watch.

We will be having a small, local screening w/ @nashfilmclub very soon—follow them for details and RSVP instructions.

———————————————————————————

Starring: @naylortovak, John Schuck, and @johnatheo

Paintings by @evanboutteaccount

Produced by @naylortovak and @johnatheo

Written & Directed by @johnatheo

Cinematographer: @codyduncum
1AC: @logthemac
2AC/Loader: @ryannbauguess

Gaffer: @jasonwain & @jayrobande
Grip/Dolly Grip: @kanelingle

Art Director: @emi.leigh
Still Photographer: @joshjardim

Prod. Sound Mixer: @_huntervickers_
Boom Op: @stevemccann2112

PA: @shannon.sees
PA: @lukeanselll
PA: @harrison.shook

Picture & Sound Editor: @joshjardim
Colorist: @ryan_h_berger
Graphic Design: @grant.gasser
Titles: @joshjardim

Equipment: @dbvrentals
Lab Services: @cinelabboston @kodak_shootfilm
Catering: @mijogordito

Thanks: @rogerpistole @melissamichalak @mccrayagency @theofficialmattlogan @onlocationwithvalerie @taylorviera @milavilaplana @dreambabystudio

Coming soon… a film we made where s*** went wrong.

(local screening @nashfilmclub maybe ?)

Some pics from our trip, all on Ektar. Scanned and processed @midwestfilmcompany which I cannot recommend enough.

Some pics from our trip, all on Ektar. Scanned and processed @midwestfilmcompany which I cannot recommend enough.

Some pics from our trip, all on Ektar. Scanned and processed @midwestfilmcompany which I cannot recommend enough.

Some pics from our trip, all on Ektar. Scanned and processed @midwestfilmcompany which I cannot recommend enough.

Some pics from our trip, all on Ektar. Scanned and processed @midwestfilmcompany which I cannot recommend enough.