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Who am I taking photos with next year?
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#35mm #filmphotography #pentax

Who am I taking photos with next year?
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#35mm #filmphotography #pentax

Who am I taking photos with next year?
.
.
#35mm #filmphotography #pentax

Who am I taking photos with next year?
.
.
#35mm #filmphotography #pentax

Who am I taking photos with next year?
.
.
#35mm #filmphotography #pentax

Who am I taking photos with next year?
.
.
#35mm #filmphotography #pentax

Who am I taking photos with next year?
.
.
#35mm #filmphotography #pentax

I’ve never been a fan of New Year’s “Fuck [previous year]” posts. So here’s a (far from exhaustive) list of things I got to do in 2021 that I loved (part 1):
-Ride the Red Line again
-Shop around Little Tokyo
-See @wowizzy’s home garden
-Watch the Surfers on Manhattan Beach
-See a LOT of Pomona sunsets
-Take an excursion to @we.are.relics in Long Beach and discover a new cool scene with @good_nate_and_good_luck
-Go to my first post-vaccine barbecue for @kyleayers’ birthday and feel like a real person again
.
.
.
#thedarkroomlab #wearerelics #35mm #pentax #ishootfilm #redditanalog #cinestill #lomography #portra #filmneverdie #120mm #mamiya #mediumformat

I’ve never been a fan of New Year’s “Fuck [previous year]” posts. So here’s a (far from exhaustive) list of things I got to do in 2021 that I loved (part 1):
-Ride the Red Line again
-Shop around Little Tokyo
-See @wowizzy’s home garden
-Watch the Surfers on Manhattan Beach
-See a LOT of Pomona sunsets
-Take an excursion to @we.are.relics in Long Beach and discover a new cool scene with @good_nate_and_good_luck
-Go to my first post-vaccine barbecue for @kyleayers’ birthday and feel like a real person again
.
.
.
#thedarkroomlab #wearerelics #35mm #pentax #ishootfilm #redditanalog #cinestill #lomography #portra #filmneverdie #120mm #mamiya #mediumformat

I’ve never been a fan of New Year’s “Fuck [previous year]” posts. So here’s a (far from exhaustive) list of things I got to do in 2021 that I loved (part 1):
-Ride the Red Line again
-Shop around Little Tokyo
-See @wowizzy’s home garden
-Watch the Surfers on Manhattan Beach
-See a LOT of Pomona sunsets
-Take an excursion to @we.are.relics in Long Beach and discover a new cool scene with @good_nate_and_good_luck
-Go to my first post-vaccine barbecue for @kyleayers’ birthday and feel like a real person again
.
.
.
#thedarkroomlab #wearerelics #35mm #pentax #ishootfilm #redditanalog #cinestill #lomography #portra #filmneverdie #120mm #mamiya #mediumformat

I’ve never been a fan of New Year’s “Fuck [previous year]” posts. So here’s a (far from exhaustive) list of things I got to do in 2021 that I loved (part 1):
-Ride the Red Line again
-Shop around Little Tokyo
-See @wowizzy’s home garden
-Watch the Surfers on Manhattan Beach
-See a LOT of Pomona sunsets
-Take an excursion to @we.are.relics in Long Beach and discover a new cool scene with @good_nate_and_good_luck
-Go to my first post-vaccine barbecue for @kyleayers’ birthday and feel like a real person again
.
.
.
#thedarkroomlab #wearerelics #35mm #pentax #ishootfilm #redditanalog #cinestill #lomography #portra #filmneverdie #120mm #mamiya #mediumformat

I’ve never been a fan of New Year’s “Fuck [previous year]” posts. So here’s a (far from exhaustive) list of things I got to do in 2021 that I loved (part 1):
-Ride the Red Line again
-Shop around Little Tokyo
-See @wowizzy’s home garden
-Watch the Surfers on Manhattan Beach
-See a LOT of Pomona sunsets
-Take an excursion to @we.are.relics in Long Beach and discover a new cool scene with @good_nate_and_good_luck
-Go to my first post-vaccine barbecue for @kyleayers’ birthday and feel like a real person again
.
.
.
#thedarkroomlab #wearerelics #35mm #pentax #ishootfilm #redditanalog #cinestill #lomography #portra #filmneverdie #120mm #mamiya #mediumformat

I’ve never been a fan of New Year’s “Fuck [previous year]” posts. So here’s a (far from exhaustive) list of things I got to do in 2021 that I loved (part 1):
-Ride the Red Line again
-Shop around Little Tokyo
-See @wowizzy’s home garden
-Watch the Surfers on Manhattan Beach
-See a LOT of Pomona sunsets
-Take an excursion to @we.are.relics in Long Beach and discover a new cool scene with @good_nate_and_good_luck
-Go to my first post-vaccine barbecue for @kyleayers’ birthday and feel like a real person again
.
.
.
#thedarkroomlab #wearerelics #35mm #pentax #ishootfilm #redditanalog #cinestill #lomography #portra #filmneverdie #120mm #mamiya #mediumformat

I’ve never been a fan of New Year’s “Fuck [previous year]” posts. So here’s a (far from exhaustive) list of things I got to do in 2021 that I loved (part 1):
-Ride the Red Line again
-Shop around Little Tokyo
-See @wowizzy’s home garden
-Watch the Surfers on Manhattan Beach
-See a LOT of Pomona sunsets
-Take an excursion to @we.are.relics in Long Beach and discover a new cool scene with @good_nate_and_good_luck
-Go to my first post-vaccine barbecue for @kyleayers’ birthday and feel like a real person again
.
.
.
#thedarkroomlab #wearerelics #35mm #pentax #ishootfilm #redditanalog #cinestill #lomography #portra #filmneverdie #120mm #mamiya #mediumformat

I’ve never been a fan of New Year’s “Fuck [previous year]” posts. So here’s a (far from exhaustive) list of things I got to do in 2021 that I loved (part 1):
-Ride the Red Line again
-Shop around Little Tokyo
-See @wowizzy’s home garden
-Watch the Surfers on Manhattan Beach
-See a LOT of Pomona sunsets
-Take an excursion to @we.are.relics in Long Beach and discover a new cool scene with @good_nate_and_good_luck
-Go to my first post-vaccine barbecue for @kyleayers’ birthday and feel like a real person again
.
.
.
#thedarkroomlab #wearerelics #35mm #pentax #ishootfilm #redditanalog #cinestill #lomography #portra #filmneverdie #120mm #mamiya #mediumformat

I’ve never been a fan of New Year’s “Fuck [previous year]” posts. So here’s a (far from exhaustive) list of things I got to do in 2021 that I loved (part 1):
-Ride the Red Line again
-Shop around Little Tokyo
-See @wowizzy’s home garden
-Watch the Surfers on Manhattan Beach
-See a LOT of Pomona sunsets
-Take an excursion to @we.are.relics in Long Beach and discover a new cool scene with @good_nate_and_good_luck
-Go to my first post-vaccine barbecue for @kyleayers’ birthday and feel like a real person again
.
.
.
#thedarkroomlab #wearerelics #35mm #pentax #ishootfilm #redditanalog #cinestill #lomography #portra #filmneverdie #120mm #mamiya #mediumformat

I’ve never been a fan of New Year’s “Fuck [previous year]” posts. So here’s a (far from exhaustive) list of things I got to do in 2021 that I loved (part 1):
-Ride the Red Line again
-Shop around Little Tokyo
-See @wowizzy’s home garden
-Watch the Surfers on Manhattan Beach
-See a LOT of Pomona sunsets
-Take an excursion to @we.are.relics in Long Beach and discover a new cool scene with @good_nate_and_good_luck
-Go to my first post-vaccine barbecue for @kyleayers’ birthday and feel like a real person again
.
.
.
#thedarkroomlab #wearerelics #35mm #pentax #ishootfilm #redditanalog #cinestill #lomography #portra #filmneverdie #120mm #mamiya #mediumformat

A continued (but not exhaustive) list of things I’m glad I got to do in 2021:
-Go on film walks with @good_nate_and_good_luck and @tdgavitt
-Spend more time at the beach than maybe any other year (Thanks to @the_trevor_show, @wowizzy and @anniedextrous)
-Work on a rad Snapchat series with some rad new friends
-Work with some old friends again
-Hike Griffith again
-Go to concerts again (Frist show back: Kamasi Washington & Earl Sweatshirt at the bowl w/ @lily.cabello)
-Go to the movies again (and again and again)
.
.
.
#thedarkroomlab #wearerelics #35mm #k1000 #ishootfilm #redditanalog #cinestill #lomography #portra400 #filmneverdie #120mm #mamiya #mediumformat

A continued (but not exhaustive) list of things I’m glad I got to do in 2021:
-Go on film walks with @good_nate_and_good_luck and @tdgavitt
-Spend more time at the beach than maybe any other year (Thanks to @the_trevor_show, @wowizzy and @anniedextrous)
-Work on a rad Snapchat series with some rad new friends
-Work with some old friends again
-Hike Griffith again
-Go to concerts again (Frist show back: Kamasi Washington & Earl Sweatshirt at the bowl w/ @lily.cabello)
-Go to the movies again (and again and again)
.
.
.
#thedarkroomlab #wearerelics #35mm #k1000 #ishootfilm #redditanalog #cinestill #lomography #portra400 #filmneverdie #120mm #mamiya #mediumformat

A continued (but not exhaustive) list of things I’m glad I got to do in 2021:
-Go on film walks with @good_nate_and_good_luck and @tdgavitt
-Spend more time at the beach than maybe any other year (Thanks to @the_trevor_show, @wowizzy and @anniedextrous)
-Work on a rad Snapchat series with some rad new friends
-Work with some old friends again
-Hike Griffith again
-Go to concerts again (Frist show back: Kamasi Washington & Earl Sweatshirt at the bowl w/ @lily.cabello)
-Go to the movies again (and again and again)
.
.
.
#thedarkroomlab #wearerelics #35mm #k1000 #ishootfilm #redditanalog #cinestill #lomography #portra400 #filmneverdie #120mm #mamiya #mediumformat

A continued (but not exhaustive) list of things I’m glad I got to do in 2021:
-Go on film walks with @good_nate_and_good_luck and @tdgavitt
-Spend more time at the beach than maybe any other year (Thanks to @the_trevor_show, @wowizzy and @anniedextrous)
-Work on a rad Snapchat series with some rad new friends
-Work with some old friends again
-Hike Griffith again
-Go to concerts again (Frist show back: Kamasi Washington & Earl Sweatshirt at the bowl w/ @lily.cabello)
-Go to the movies again (and again and again)
.
.
.
#thedarkroomlab #wearerelics #35mm #k1000 #ishootfilm #redditanalog #cinestill #lomography #portra400 #filmneverdie #120mm #mamiya #mediumformat

A continued (but not exhaustive) list of things I’m glad I got to do in 2021:
-Go on film walks with @good_nate_and_good_luck and @tdgavitt
-Spend more time at the beach than maybe any other year (Thanks to @the_trevor_show, @wowizzy and @anniedextrous)
-Work on a rad Snapchat series with some rad new friends
-Work with some old friends again
-Hike Griffith again
-Go to concerts again (Frist show back: Kamasi Washington & Earl Sweatshirt at the bowl w/ @lily.cabello)
-Go to the movies again (and again and again)
.
.
.
#thedarkroomlab #wearerelics #35mm #k1000 #ishootfilm #redditanalog #cinestill #lomography #portra400 #filmneverdie #120mm #mamiya #mediumformat

A continued (but not exhaustive) list of things I’m glad I got to do in 2021:
-Go on film walks with @good_nate_and_good_luck and @tdgavitt
-Spend more time at the beach than maybe any other year (Thanks to @the_trevor_show, @wowizzy and @anniedextrous)
-Work on a rad Snapchat series with some rad new friends
-Work with some old friends again
-Hike Griffith again
-Go to concerts again (Frist show back: Kamasi Washington & Earl Sweatshirt at the bowl w/ @lily.cabello)
-Go to the movies again (and again and again)
.
.
.
#thedarkroomlab #wearerelics #35mm #k1000 #ishootfilm #redditanalog #cinestill #lomography #portra400 #filmneverdie #120mm #mamiya #mediumformat

A continued (but not exhaustive) list of things I’m glad I got to do in 2021:
-Go on film walks with @good_nate_and_good_luck and @tdgavitt
-Spend more time at the beach than maybe any other year (Thanks to @the_trevor_show, @wowizzy and @anniedextrous)
-Work on a rad Snapchat series with some rad new friends
-Work with some old friends again
-Hike Griffith again
-Go to concerts again (Frist show back: Kamasi Washington & Earl Sweatshirt at the bowl w/ @lily.cabello)
-Go to the movies again (and again and again)
.
.
.
#thedarkroomlab #wearerelics #35mm #k1000 #ishootfilm #redditanalog #cinestill #lomography #portra400 #filmneverdie #120mm #mamiya #mediumformat

A continued (but not exhaustive) list of things I’m glad I got to do in 2021:
-Go on film walks with @good_nate_and_good_luck and @tdgavitt
-Spend more time at the beach than maybe any other year (Thanks to @the_trevor_show, @wowizzy and @anniedextrous)
-Work on a rad Snapchat series with some rad new friends
-Work with some old friends again
-Hike Griffith again
-Go to concerts again (Frist show back: Kamasi Washington & Earl Sweatshirt at the bowl w/ @lily.cabello)
-Go to the movies again (and again and again)
.
.
.
#thedarkroomlab #wearerelics #35mm #k1000 #ishootfilm #redditanalog #cinestill #lomography #portra400 #filmneverdie #120mm #mamiya #mediumformat

A continued (but not exhaustive) list of things I’m glad I got to do in 2021:
-Go on film walks with @good_nate_and_good_luck and @tdgavitt
-Spend more time at the beach than maybe any other year (Thanks to @the_trevor_show, @wowizzy and @anniedextrous)
-Work on a rad Snapchat series with some rad new friends
-Work with some old friends again
-Hike Griffith again
-Go to concerts again (Frist show back: Kamasi Washington & Earl Sweatshirt at the bowl w/ @lily.cabello)
-Go to the movies again (and again and again)
.
.
.
#thedarkroomlab #wearerelics #35mm #k1000 #ishootfilm #redditanalog #cinestill #lomography #portra400 #filmneverdie #120mm #mamiya #mediumformat

A continued (but not exhaustive) list of things I’m glad I got to do in 2021:
-Go on film walks with @good_nate_and_good_luck and @tdgavitt
-Spend more time at the beach than maybe any other year (Thanks to @the_trevor_show, @wowizzy and @anniedextrous)
-Work on a rad Snapchat series with some rad new friends
-Work with some old friends again
-Hike Griffith again
-Go to concerts again (Frist show back: Kamasi Washington & Earl Sweatshirt at the bowl w/ @lily.cabello)
-Go to the movies again (and again and again)
.
.
.
#thedarkroomlab #wearerelics #35mm #k1000 #ishootfilm #redditanalog #cinestill #lomography #portra400 #filmneverdie #120mm #mamiya #mediumformat

When I first moved to LA, I did so with the loud caveat that "I still want to find a way to come back and make Missouri movies." There's something special about the freedom that comes from making things in the place where your senses first came online

Then... 12 years passed. I kept telling myself "I'd like to try something narrative again someday," but kept getting lost to the off-ramp of ease and immediacy. Work took precedent, and then Blind Covers-a show I love, but one that is much less of a risk, and requires less of me showing a piece of myself to make.

The past few years I've been fortunate enough to work on some shows for @dropouttv. Fortunate for one, because it's a great company, and I get to do fun work with my friends that I'm really proud of. But also fortunate because they're the only company I'm aware of in this industry that does a year-end profit-share with anyone at any level who worked for their company that year.

So often a paycheck is just a paycheck. But this feels disconnected to any specific days on set. It feels like a reminder—"You get paid to do the only thing in life you've ever wanted to do." That's an increasingly rarified and beautiful thing to feel if you let yourself feel it.

So this year I decided that I was going to set aside whatever profit share I received and put it toward doing the thing I always promised myself l'd do: I'd make a Missouri Movie.

I let myself reach more than I have in my career: We pulled heavily from Robby Mueller's collaborations with Wim Wenders, Peter Yates' 70's crime dramas, and Jeff Nichols' southern gothic to make a goofy, stylized crime comedy set in the post-Regan early 90's, in a moment when the Midwest was poised for a precipitous fall that we're still untangling today, and a crime world that goes unremarked upon primarily because of how many more places there are to hide bodies.

I also wanted to use my years in the production design world to create a period Missouri that felt tossed-off and lived-in. We worked fast, loose, and through a freak unexpected blizzard that couldn't have been timed worse or looked better on camera.

(Continued below)

When I first moved to LA, I did so with the loud caveat that "I still want to find a way to come back and make Missouri movies." There's something special about the freedom that comes from making things in the place where your senses first came online

Then... 12 years passed. I kept telling myself "I'd like to try something narrative again someday," but kept getting lost to the off-ramp of ease and immediacy. Work took precedent, and then Blind Covers-a show I love, but one that is much less of a risk, and requires less of me showing a piece of myself to make.

The past few years I've been fortunate enough to work on some shows for @dropouttv. Fortunate for one, because it's a great company, and I get to do fun work with my friends that I'm really proud of. But also fortunate because they're the only company I'm aware of in this industry that does a year-end profit-share with anyone at any level who worked for their company that year.

So often a paycheck is just a paycheck. But this feels disconnected to any specific days on set. It feels like a reminder—"You get paid to do the only thing in life you've ever wanted to do." That's an increasingly rarified and beautiful thing to feel if you let yourself feel it.

So this year I decided that I was going to set aside whatever profit share I received and put it toward doing the thing I always promised myself l'd do: I'd make a Missouri Movie.

I let myself reach more than I have in my career: We pulled heavily from Robby Mueller's collaborations with Wim Wenders, Peter Yates' 70's crime dramas, and Jeff Nichols' southern gothic to make a goofy, stylized crime comedy set in the post-Regan early 90's, in a moment when the Midwest was poised for a precipitous fall that we're still untangling today, and a crime world that goes unremarked upon primarily because of how many more places there are to hide bodies.

I also wanted to use my years in the production design world to create a period Missouri that felt tossed-off and lived-in. We worked fast, loose, and through a freak unexpected blizzard that couldn't have been timed worse or looked better on camera.

(Continued below)

When I first moved to LA, I did so with the loud caveat that "I still want to find a way to come back and make Missouri movies." There's something special about the freedom that comes from making things in the place where your senses first came online

Then... 12 years passed. I kept telling myself "I'd like to try something narrative again someday," but kept getting lost to the off-ramp of ease and immediacy. Work took precedent, and then Blind Covers-a show I love, but one that is much less of a risk, and requires less of me showing a piece of myself to make.

The past few years I've been fortunate enough to work on some shows for @dropouttv. Fortunate for one, because it's a great company, and I get to do fun work with my friends that I'm really proud of. But also fortunate because they're the only company I'm aware of in this industry that does a year-end profit-share with anyone at any level who worked for their company that year.

So often a paycheck is just a paycheck. But this feels disconnected to any specific days on set. It feels like a reminder—"You get paid to do the only thing in life you've ever wanted to do." That's an increasingly rarified and beautiful thing to feel if you let yourself feel it.

So this year I decided that I was going to set aside whatever profit share I received and put it toward doing the thing I always promised myself l'd do: I'd make a Missouri Movie.

I let myself reach more than I have in my career: We pulled heavily from Robby Mueller's collaborations with Wim Wenders, Peter Yates' 70's crime dramas, and Jeff Nichols' southern gothic to make a goofy, stylized crime comedy set in the post-Regan early 90's, in a moment when the Midwest was poised for a precipitous fall that we're still untangling today, and a crime world that goes unremarked upon primarily because of how many more places there are to hide bodies.

I also wanted to use my years in the production design world to create a period Missouri that felt tossed-off and lived-in. We worked fast, loose, and through a freak unexpected blizzard that couldn't have been timed worse or looked better on camera.

(Continued below)

When I first moved to LA, I did so with the loud caveat that "I still want to find a way to come back and make Missouri movies." There's something special about the freedom that comes from making things in the place where your senses first came online

Then... 12 years passed. I kept telling myself "I'd like to try something narrative again someday," but kept getting lost to the off-ramp of ease and immediacy. Work took precedent, and then Blind Covers-a show I love, but one that is much less of a risk, and requires less of me showing a piece of myself to make.

The past few years I've been fortunate enough to work on some shows for @dropouttv. Fortunate for one, because it's a great company, and I get to do fun work with my friends that I'm really proud of. But also fortunate because they're the only company I'm aware of in this industry that does a year-end profit-share with anyone at any level who worked for their company that year.

So often a paycheck is just a paycheck. But this feels disconnected to any specific days on set. It feels like a reminder—"You get paid to do the only thing in life you've ever wanted to do." That's an increasingly rarified and beautiful thing to feel if you let yourself feel it.

So this year I decided that I was going to set aside whatever profit share I received and put it toward doing the thing I always promised myself l'd do: I'd make a Missouri Movie.

I let myself reach more than I have in my career: We pulled heavily from Robby Mueller's collaborations with Wim Wenders, Peter Yates' 70's crime dramas, and Jeff Nichols' southern gothic to make a goofy, stylized crime comedy set in the post-Regan early 90's, in a moment when the Midwest was poised for a precipitous fall that we're still untangling today, and a crime world that goes unremarked upon primarily because of how many more places there are to hide bodies.

I also wanted to use my years in the production design world to create a period Missouri that felt tossed-off and lived-in. We worked fast, loose, and through a freak unexpected blizzard that couldn't have been timed worse or looked better on camera.

(Continued below)

When I first moved to LA, I did so with the loud caveat that "I still want to find a way to come back and make Missouri movies." There's something special about the freedom that comes from making things in the place where your senses first came online

Then... 12 years passed. I kept telling myself "I'd like to try something narrative again someday," but kept getting lost to the off-ramp of ease and immediacy. Work took precedent, and then Blind Covers-a show I love, but one that is much less of a risk, and requires less of me showing a piece of myself to make.

The past few years I've been fortunate enough to work on some shows for @dropouttv. Fortunate for one, because it's a great company, and I get to do fun work with my friends that I'm really proud of. But also fortunate because they're the only company I'm aware of in this industry that does a year-end profit-share with anyone at any level who worked for their company that year.

So often a paycheck is just a paycheck. But this feels disconnected to any specific days on set. It feels like a reminder—"You get paid to do the only thing in life you've ever wanted to do." That's an increasingly rarified and beautiful thing to feel if you let yourself feel it.

So this year I decided that I was going to set aside whatever profit share I received and put it toward doing the thing I always promised myself l'd do: I'd make a Missouri Movie.

I let myself reach more than I have in my career: We pulled heavily from Robby Mueller's collaborations with Wim Wenders, Peter Yates' 70's crime dramas, and Jeff Nichols' southern gothic to make a goofy, stylized crime comedy set in the post-Regan early 90's, in a moment when the Midwest was poised for a precipitous fall that we're still untangling today, and a crime world that goes unremarked upon primarily because of how many more places there are to hide bodies.

I also wanted to use my years in the production design world to create a period Missouri that felt tossed-off and lived-in. We worked fast, loose, and through a freak unexpected blizzard that couldn't have been timed worse or looked better on camera.

(Continued below)

When I first moved to LA, I did so with the loud caveat that "I still want to find a way to come back and make Missouri movies." There's something special about the freedom that comes from making things in the place where your senses first came online

Then... 12 years passed. I kept telling myself "I'd like to try something narrative again someday," but kept getting lost to the off-ramp of ease and immediacy. Work took precedent, and then Blind Covers-a show I love, but one that is much less of a risk, and requires less of me showing a piece of myself to make.

The past few years I've been fortunate enough to work on some shows for @dropouttv. Fortunate for one, because it's a great company, and I get to do fun work with my friends that I'm really proud of. But also fortunate because they're the only company I'm aware of in this industry that does a year-end profit-share with anyone at any level who worked for their company that year.

So often a paycheck is just a paycheck. But this feels disconnected to any specific days on set. It feels like a reminder—"You get paid to do the only thing in life you've ever wanted to do." That's an increasingly rarified and beautiful thing to feel if you let yourself feel it.

So this year I decided that I was going to set aside whatever profit share I received and put it toward doing the thing I always promised myself l'd do: I'd make a Missouri Movie.

I let myself reach more than I have in my career: We pulled heavily from Robby Mueller's collaborations with Wim Wenders, Peter Yates' 70's crime dramas, and Jeff Nichols' southern gothic to make a goofy, stylized crime comedy set in the post-Regan early 90's, in a moment when the Midwest was poised for a precipitous fall that we're still untangling today, and a crime world that goes unremarked upon primarily because of how many more places there are to hide bodies.

I also wanted to use my years in the production design world to create a period Missouri that felt tossed-off and lived-in. We worked fast, loose, and through a freak unexpected blizzard that couldn't have been timed worse or looked better on camera.

(Continued below)

When I first moved to LA, I did so with the loud caveat that "I still want to find a way to come back and make Missouri movies." There's something special about the freedom that comes from making things in the place where your senses first came online

Then... 12 years passed. I kept telling myself "I'd like to try something narrative again someday," but kept getting lost to the off-ramp of ease and immediacy. Work took precedent, and then Blind Covers-a show I love, but one that is much less of a risk, and requires less of me showing a piece of myself to make.

The past few years I've been fortunate enough to work on some shows for @dropouttv. Fortunate for one, because it's a great company, and I get to do fun work with my friends that I'm really proud of. But also fortunate because they're the only company I'm aware of in this industry that does a year-end profit-share with anyone at any level who worked for their company that year.

So often a paycheck is just a paycheck. But this feels disconnected to any specific days on set. It feels like a reminder—"You get paid to do the only thing in life you've ever wanted to do." That's an increasingly rarified and beautiful thing to feel if you let yourself feel it.

So this year I decided that I was going to set aside whatever profit share I received and put it toward doing the thing I always promised myself l'd do: I'd make a Missouri Movie.

I let myself reach more than I have in my career: We pulled heavily from Robby Mueller's collaborations with Wim Wenders, Peter Yates' 70's crime dramas, and Jeff Nichols' southern gothic to make a goofy, stylized crime comedy set in the post-Regan early 90's, in a moment when the Midwest was poised for a precipitous fall that we're still untangling today, and a crime world that goes unremarked upon primarily because of how many more places there are to hide bodies.

I also wanted to use my years in the production design world to create a period Missouri that felt tossed-off and lived-in. We worked fast, loose, and through a freak unexpected blizzard that couldn't have been timed worse or looked better on camera.

(Continued below)

When I first moved to LA, I did so with the loud caveat that "I still want to find a way to come back and make Missouri movies." There's something special about the freedom that comes from making things in the place where your senses first came online

Then... 12 years passed. I kept telling myself "I'd like to try something narrative again someday," but kept getting lost to the off-ramp of ease and immediacy. Work took precedent, and then Blind Covers-a show I love, but one that is much less of a risk, and requires less of me showing a piece of myself to make.

The past few years I've been fortunate enough to work on some shows for @dropouttv. Fortunate for one, because it's a great company, and I get to do fun work with my friends that I'm really proud of. But also fortunate because they're the only company I'm aware of in this industry that does a year-end profit-share with anyone at any level who worked for their company that year.

So often a paycheck is just a paycheck. But this feels disconnected to any specific days on set. It feels like a reminder—"You get paid to do the only thing in life you've ever wanted to do." That's an increasingly rarified and beautiful thing to feel if you let yourself feel it.

So this year I decided that I was going to set aside whatever profit share I received and put it toward doing the thing I always promised myself l'd do: I'd make a Missouri Movie.

I let myself reach more than I have in my career: We pulled heavily from Robby Mueller's collaborations with Wim Wenders, Peter Yates' 70's crime dramas, and Jeff Nichols' southern gothic to make a goofy, stylized crime comedy set in the post-Regan early 90's, in a moment when the Midwest was poised for a precipitous fall that we're still untangling today, and a crime world that goes unremarked upon primarily because of how many more places there are to hide bodies.

I also wanted to use my years in the production design world to create a period Missouri that felt tossed-off and lived-in. We worked fast, loose, and through a freak unexpected blizzard that couldn't have been timed worse or looked better on camera.

(Continued below)

When I first moved to LA, I did so with the loud caveat that "I still want to find a way to come back and make Missouri movies." There's something special about the freedom that comes from making things in the place where your senses first came online

Then... 12 years passed. I kept telling myself "I'd like to try something narrative again someday," but kept getting lost to the off-ramp of ease and immediacy. Work took precedent, and then Blind Covers-a show I love, but one that is much less of a risk, and requires less of me showing a piece of myself to make.

The past few years I've been fortunate enough to work on some shows for @dropouttv. Fortunate for one, because it's a great company, and I get to do fun work with my friends that I'm really proud of. But also fortunate because they're the only company I'm aware of in this industry that does a year-end profit-share with anyone at any level who worked for their company that year.

So often a paycheck is just a paycheck. But this feels disconnected to any specific days on set. It feels like a reminder—"You get paid to do the only thing in life you've ever wanted to do." That's an increasingly rarified and beautiful thing to feel if you let yourself feel it.

So this year I decided that I was going to set aside whatever profit share I received and put it toward doing the thing I always promised myself l'd do: I'd make a Missouri Movie.

I let myself reach more than I have in my career: We pulled heavily from Robby Mueller's collaborations with Wim Wenders, Peter Yates' 70's crime dramas, and Jeff Nichols' southern gothic to make a goofy, stylized crime comedy set in the post-Regan early 90's, in a moment when the Midwest was poised for a precipitous fall that we're still untangling today, and a crime world that goes unremarked upon primarily because of how many more places there are to hide bodies.

I also wanted to use my years in the production design world to create a period Missouri that felt tossed-off and lived-in. We worked fast, loose, and through a freak unexpected blizzard that couldn't have been timed worse or looked better on camera.

(Continued below)

When I first moved to LA, I did so with the loud caveat that "I still want to find a way to come back and make Missouri movies." There's something special about the freedom that comes from making things in the place where your senses first came online

Then... 12 years passed. I kept telling myself "I'd like to try something narrative again someday," but kept getting lost to the off-ramp of ease and immediacy. Work took precedent, and then Blind Covers-a show I love, but one that is much less of a risk, and requires less of me showing a piece of myself to make.

The past few years I've been fortunate enough to work on some shows for @dropouttv. Fortunate for one, because it's a great company, and I get to do fun work with my friends that I'm really proud of. But also fortunate because they're the only company I'm aware of in this industry that does a year-end profit-share with anyone at any level who worked for their company that year.

So often a paycheck is just a paycheck. But this feels disconnected to any specific days on set. It feels like a reminder—"You get paid to do the only thing in life you've ever wanted to do." That's an increasingly rarified and beautiful thing to feel if you let yourself feel it.

So this year I decided that I was going to set aside whatever profit share I received and put it toward doing the thing I always promised myself l'd do: I'd make a Missouri Movie.

I let myself reach more than I have in my career: We pulled heavily from Robby Mueller's collaborations with Wim Wenders, Peter Yates' 70's crime dramas, and Jeff Nichols' southern gothic to make a goofy, stylized crime comedy set in the post-Regan early 90's, in a moment when the Midwest was poised for a precipitous fall that we're still untangling today, and a crime world that goes unremarked upon primarily because of how many more places there are to hide bodies.

I also wanted to use my years in the production design world to create a period Missouri that felt tossed-off and lived-in. We worked fast, loose, and through a freak unexpected blizzard that couldn't have been timed worse or looked better on camera.

(Continued below)

When I first moved to LA, I did so with the loud caveat that "I still want to find a way to come back and make Missouri movies." There's something special about the freedom that comes from making things in the place where your senses first came online

Then... 12 years passed. I kept telling myself "I'd like to try something narrative again someday," but kept getting lost to the off-ramp of ease and immediacy. Work took precedent, and then Blind Covers-a show I love, but one that is much less of a risk, and requires less of me showing a piece of myself to make.

The past few years I've been fortunate enough to work on some shows for @dropouttv. Fortunate for one, because it's a great company, and I get to do fun work with my friends that I'm really proud of. But also fortunate because they're the only company I'm aware of in this industry that does a year-end profit-share with anyone at any level who worked for their company that year.

So often a paycheck is just a paycheck. But this feels disconnected to any specific days on set. It feels like a reminder—"You get paid to do the only thing in life you've ever wanted to do." That's an increasingly rarified and beautiful thing to feel if you let yourself feel it.

So this year I decided that I was going to set aside whatever profit share I received and put it toward doing the thing I always promised myself l'd do: I'd make a Missouri Movie.

I let myself reach more than I have in my career: We pulled heavily from Robby Mueller's collaborations with Wim Wenders, Peter Yates' 70's crime dramas, and Jeff Nichols' southern gothic to make a goofy, stylized crime comedy set in the post-Regan early 90's, in a moment when the Midwest was poised for a precipitous fall that we're still untangling today, and a crime world that goes unremarked upon primarily because of how many more places there are to hide bodies.

I also wanted to use my years in the production design world to create a period Missouri that felt tossed-off and lived-in. We worked fast, loose, and through a freak unexpected blizzard that couldn't have been timed worse or looked better on camera.

(Continued below)

When I first moved to LA, I did so with the loud caveat that "I still want to find a way to come back and make Missouri movies." There's something special about the freedom that comes from making things in the place where your senses first came online

Then... 12 years passed. I kept telling myself "I'd like to try something narrative again someday," but kept getting lost to the off-ramp of ease and immediacy. Work took precedent, and then Blind Covers-a show I love, but one that is much less of a risk, and requires less of me showing a piece of myself to make.

The past few years I've been fortunate enough to work on some shows for @dropouttv. Fortunate for one, because it's a great company, and I get to do fun work with my friends that I'm really proud of. But also fortunate because they're the only company I'm aware of in this industry that does a year-end profit-share with anyone at any level who worked for their company that year.

So often a paycheck is just a paycheck. But this feels disconnected to any specific days on set. It feels like a reminder—"You get paid to do the only thing in life you've ever wanted to do." That's an increasingly rarified and beautiful thing to feel if you let yourself feel it.

So this year I decided that I was going to set aside whatever profit share I received and put it toward doing the thing I always promised myself l'd do: I'd make a Missouri Movie.

I let myself reach more than I have in my career: We pulled heavily from Robby Mueller's collaborations with Wim Wenders, Peter Yates' 70's crime dramas, and Jeff Nichols' southern gothic to make a goofy, stylized crime comedy set in the post-Regan early 90's, in a moment when the Midwest was poised for a precipitous fall that we're still untangling today, and a crime world that goes unremarked upon primarily because of how many more places there are to hide bodies.

I also wanted to use my years in the production design world to create a period Missouri that felt tossed-off and lived-in. We worked fast, loose, and through a freak unexpected blizzard that couldn't have been timed worse or looked better on camera.

(Continued below)

When I first moved to LA, I did so with the loud caveat that "I still want to find a way to come back and make Missouri movies." There's something special about the freedom that comes from making things in the place where your senses first came online

Then... 12 years passed. I kept telling myself "I'd like to try something narrative again someday," but kept getting lost to the off-ramp of ease and immediacy. Work took precedent, and then Blind Covers-a show I love, but one that is much less of a risk, and requires less of me showing a piece of myself to make.

The past few years I've been fortunate enough to work on some shows for @dropouttv. Fortunate for one, because it's a great company, and I get to do fun work with my friends that I'm really proud of. But also fortunate because they're the only company I'm aware of in this industry that does a year-end profit-share with anyone at any level who worked for their company that year.

So often a paycheck is just a paycheck. But this feels disconnected to any specific days on set. It feels like a reminder—"You get paid to do the only thing in life you've ever wanted to do." That's an increasingly rarified and beautiful thing to feel if you let yourself feel it.

So this year I decided that I was going to set aside whatever profit share I received and put it toward doing the thing I always promised myself l'd do: I'd make a Missouri Movie.

I let myself reach more than I have in my career: We pulled heavily from Robby Mueller's collaborations with Wim Wenders, Peter Yates' 70's crime dramas, and Jeff Nichols' southern gothic to make a goofy, stylized crime comedy set in the post-Regan early 90's, in a moment when the Midwest was poised for a precipitous fall that we're still untangling today, and a crime world that goes unremarked upon primarily because of how many more places there are to hide bodies.

I also wanted to use my years in the production design world to create a period Missouri that felt tossed-off and lived-in. We worked fast, loose, and through a freak unexpected blizzard that couldn't have been timed worse or looked better on camera.

(Continued below)

When I first moved to LA, I did so with the loud caveat that "I still want to find a way to come back and make Missouri movies." There's something special about the freedom that comes from making things in the place where your senses first came online

Then... 12 years passed. I kept telling myself "I'd like to try something narrative again someday," but kept getting lost to the off-ramp of ease and immediacy. Work took precedent, and then Blind Covers-a show I love, but one that is much less of a risk, and requires less of me showing a piece of myself to make.

The past few years I've been fortunate enough to work on some shows for @dropouttv. Fortunate for one, because it's a great company, and I get to do fun work with my friends that I'm really proud of. But also fortunate because they're the only company I'm aware of in this industry that does a year-end profit-share with anyone at any level who worked for their company that year.

So often a paycheck is just a paycheck. But this feels disconnected to any specific days on set. It feels like a reminder—"You get paid to do the only thing in life you've ever wanted to do." That's an increasingly rarified and beautiful thing to feel if you let yourself feel it.

So this year I decided that I was going to set aside whatever profit share I received and put it toward doing the thing I always promised myself l'd do: I'd make a Missouri Movie.

I let myself reach more than I have in my career: We pulled heavily from Robby Mueller's collaborations with Wim Wenders, Peter Yates' 70's crime dramas, and Jeff Nichols' southern gothic to make a goofy, stylized crime comedy set in the post-Regan early 90's, in a moment when the Midwest was poised for a precipitous fall that we're still untangling today, and a crime world that goes unremarked upon primarily because of how many more places there are to hide bodies.

I also wanted to use my years in the production design world to create a period Missouri that felt tossed-off and lived-in. We worked fast, loose, and through a freak unexpected blizzard that couldn't have been timed worse or looked better on camera.

(Continued below)

When I first moved to LA, I did so with the loud caveat that "I still want to find a way to come back and make Missouri movies." There's something special about the freedom that comes from making things in the place where your senses first came online

Then... 12 years passed. I kept telling myself "I'd like to try something narrative again someday," but kept getting lost to the off-ramp of ease and immediacy. Work took precedent, and then Blind Covers-a show I love, but one that is much less of a risk, and requires less of me showing a piece of myself to make.

The past few years I've been fortunate enough to work on some shows for @dropouttv. Fortunate for one, because it's a great company, and I get to do fun work with my friends that I'm really proud of. But also fortunate because they're the only company I'm aware of in this industry that does a year-end profit-share with anyone at any level who worked for their company that year.

So often a paycheck is just a paycheck. But this feels disconnected to any specific days on set. It feels like a reminder—"You get paid to do the only thing in life you've ever wanted to do." That's an increasingly rarified and beautiful thing to feel if you let yourself feel it.

So this year I decided that I was going to set aside whatever profit share I received and put it toward doing the thing I always promised myself l'd do: I'd make a Missouri Movie.

I let myself reach more than I have in my career: We pulled heavily from Robby Mueller's collaborations with Wim Wenders, Peter Yates' 70's crime dramas, and Jeff Nichols' southern gothic to make a goofy, stylized crime comedy set in the post-Regan early 90's, in a moment when the Midwest was poised for a precipitous fall that we're still untangling today, and a crime world that goes unremarked upon primarily because of how many more places there are to hide bodies.

I also wanted to use my years in the production design world to create a period Missouri that felt tossed-off and lived-in. We worked fast, loose, and through a freak unexpected blizzard that couldn't have been timed worse or looked better on camera.

(Continued below)

Photography work of @rwiggum is part of SEE WHAT YOU CAN FIND! Vol. 2 ✨ this work will be up at The BruHaus until Sunday 9/28. Don’t miss it!

Mitch Thompson is a photographer, filmmaker and fabricator. His work has been seen on Netflix, HBO, Hulu and Dropout. Mitch’s approach to photography is an entirely meditative one: Shooting exclusively on 8mm, 35mm and 120 film, his work embraces the forced divide between capture, review, and presentation of the work. Coming of age as an outsider in the midwest, on the border between a red state and a redder state at the height of the Iraq war, Mitch’s observational skills developed early on, often viewing life from the outside in, finding fascination in the small moments of wonder and absurdity in day-to-day America.

Photography work of @rwiggum is part of SEE WHAT YOU CAN FIND! Vol. 2 ✨ this work will be up at The BruHaus until Sunday 9/28. Don’t miss it!

Mitch Thompson is a photographer, filmmaker and fabricator. His work has been seen on Netflix, HBO, Hulu and Dropout. Mitch’s approach to photography is an entirely meditative one: Shooting exclusively on 8mm, 35mm and 120 film, his work embraces the forced divide between capture, review, and presentation of the work. Coming of age as an outsider in the midwest, on the border between a red state and a redder state at the height of the Iraq war, Mitch’s observational skills developed early on, often viewing life from the outside in, finding fascination in the small moments of wonder and absurdity in day-to-day America.

TONIGHT! I’m showing some of my prints for the first time ever at @thebruhaus.art in Los Feliz alongside some incredibly talented artists. Come through!

First rolls of super 8 in New York #super8

Summer 2024... 🔵 IN 3D!! 🔴 #nishikan8000 #35mmfilm

Summer 2024... 🔵 IN 3D!! 🔴 #nishikan8000 #35mmfilm

Summer 2024... 🔵 IN 3D!! 🔴 #nishikan8000 #35mmfilm

Summer 2024... 🔵 IN 3D!! 🔴 #nishikan8000 #35mmfilm

Summer 2024... 🔵 IN 3D!! 🔴 #nishikan8000 #35mmfilm

Summer 2024... 🔵 IN 3D!! 🔴 #nishikan8000 #35mmfilm

Summer 2024... 🔵 IN 3D!! 🔴 #nishikan8000 #35mmfilm

Summer 2024... 🔵 IN 3D!! 🔴 #nishikan8000 #35mmfilm

Summer 2024... 🔵 IN 3D!! 🔴 #nishikan8000 #35mmfilm

Summer 2024... 🔵 IN 3D!! 🔴 #nishikan8000 #35mmfilm

Thanks for another year, NERDS (Too many photos I need to post, more to come I promise)

Thanks for another year, NERDS (Too many photos I need to post, more to come I promise)

Thanks for another year, NERDS (Too many photos I need to post, more to come I promise)

Thanks for another year, NERDS (Too many photos I need to post, more to come I promise)

Thanks for another year, NERDS (Too many photos I need to post, more to come I promise)

Thanks for another year, NERDS (Too many photos I need to post, more to come I promise)

Thanks for another year, NERDS (Too many photos I need to post, more to come I promise)

Thanks for another year, NERDS (Too many photos I need to post, more to come I promise)

Thanks for another year, NERDS (Too many photos I need to post, more to come I promise)

Thanks for another year, NERDS (Too many photos I need to post, more to come I promise)

Thanks for another year, NERDS (Too many photos I need to post, more to come I promise)

Thanks for another year, NERDS (Too many photos I need to post, more to come I promise)

Thanks for another year, NERDS (Too many photos I need to post, more to come I promise)

Thanks for another year, NERDS (Too many photos I need to post, more to come I promise)

Thanks for another year, NERDS (Too many photos I need to post, more to come I promise)

Thanks for another year, NERDS (Too many photos I need to post, more to come I promise)

Thanks for another year, NERDS (Too many photos I need to post, more to come I promise)

Thanks for another year, NERDS (Too many photos I need to post, more to come I promise)

Thanks for another year, NERDS (Too many photos I need to post, more to come I promise)

Thanks for another year, NERDS (Too many photos I need to post, more to come I promise)

Nothing makes me fall in love faster than time spent in New York. Heaven for me is being awash in humanity with a camera. Thanks again to @danprevette, @alexonthemic and @coffeedogguy for making a week I'll never forget. #35mmfilm

Nothing makes me fall in love faster than time spent in New York. Heaven for me is being awash in humanity with a camera. Thanks again to @danprevette, @alexonthemic and @coffeedogguy for making a week I'll never forget. #35mmfilm

Nothing makes me fall in love faster than time spent in New York. Heaven for me is being awash in humanity with a camera. Thanks again to @danprevette, @alexonthemic and @coffeedogguy for making a week I'll never forget. #35mmfilm

Nothing makes me fall in love faster than time spent in New York. Heaven for me is being awash in humanity with a camera. Thanks again to @danprevette, @alexonthemic and @coffeedogguy for making a week I'll never forget. #35mmfilm

Nothing makes me fall in love faster than time spent in New York. Heaven for me is being awash in humanity with a camera. Thanks again to @danprevette, @alexonthemic and @coffeedogguy for making a week I'll never forget. #35mmfilm

Nothing makes me fall in love faster than time spent in New York. Heaven for me is being awash in humanity with a camera. Thanks again to @danprevette, @alexonthemic and @coffeedogguy for making a week I'll never forget. #35mmfilm

Nothing makes me fall in love faster than time spent in New York. Heaven for me is being awash in humanity with a camera. Thanks again to @danprevette, @alexonthemic and @coffeedogguy for making a week I'll never forget. #35mmfilm

Nothing makes me fall in love faster than time spent in New York. Heaven for me is being awash in humanity with a camera. Thanks again to @danprevette, @alexonthemic and @coffeedogguy for making a week I'll never forget. #35mmfilm

Nothing makes me fall in love faster than time spent in New York. Heaven for me is being awash in humanity with a camera. Thanks again to @danprevette, @alexonthemic and @coffeedogguy for making a week I'll never forget. #35mmfilm

Nothing makes me fall in love faster than time spent in New York. Heaven for me is being awash in humanity with a camera. Thanks again to @danprevette, @alexonthemic and @coffeedogguy for making a week I'll never forget. #35mmfilm

July (mostly) film dump #35mm

July (mostly) film dump #35mm

July (mostly) film dump #35mm

July (mostly) film dump #35mm

July (mostly) film dump #35mm

July (mostly) film dump #35mm

July (mostly) film dump #35mm

July (mostly) film dump #35mm

July (mostly) film dump #35mm

July (mostly) film dump #35mm

July (mostly) film dump #35mm

July (mostly) film dump #35mm

July (mostly) film dump #35mm

July (mostly) film dump #35mm

July (mostly) film dump #35mm

July (mostly) film dump #35mm

July (mostly) film dump #35mm

July (mostly) film dump #35mm

FIRST EVER BOYS x TINY STILLS
.
.
#35mm #permanentrecords #lamusic

FIRST EVER BOYS x TINY STILLS
.
.
#35mm #permanentrecords #lamusic

FIRST EVER BOYS x TINY STILLS
.
.
#35mm #permanentrecords #lamusic

FIRST EVER BOYS x TINY STILLS
.
.
#35mm #permanentrecords #lamusic

FIRST EVER BOYS x TINY STILLS
.
.
#35mm #permanentrecords #lamusic

FIRST EVER BOYS x TINY STILLS
.
.
#35mm #permanentrecords #lamusic

FIRST EVER BOYS x TINY STILLS
.
.
#35mm #permanentrecords #lamusic

FIRST EVER BOYS x TINY STILLS
.
.
#35mm #permanentrecords #lamusic

FIRST EVER BOYS x TINY STILLS
.
.
#35mm #permanentrecords #lamusic