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Trevor Morris
Butterfly on a wheel
OSCAR SHORTLIST | 2026
BUTTERFLY ON A WHEEL
36’ | Short Film | Canada
Writer/Director: Trevor Morris
Image © Taublieb Films
JAN, 6, 2026
A young pianist tries to balance his daily life with obsessive compulsive disorder while studying at one of the best music schools.
Hi Trevor, it’s really great to have this opportunity to talk with you about Butterfly On A Wheel, congratulations on being Oscar shortlisted, what does it mean to you to get this type of recognition for your debut short film?
It means a lot for a lot of reasons. Largely and honestly as a vehicle to get the message of the movie out there. Which is something I strongly and passionately believe in.
What was the first thing you thought when you found out you got shortlisted?
Well I did manifest it! But it was a sense of calm and relief once I found out, strange as it may seem. These things build up in anticipation as you can imagine, I’d not be human to feel that. But it felt great, I immediately went and found my wife Zoe and told her. She was definitely more excited!
As an award-winning composer on numerous film and TV shows did you seek out any advice from directors you worked with as you started to go into production?
To be honest I tried but the universe didn’t deliver it back to me. Unsure as to why nobody would answer that call. So I read the signs and relied on myself as I always have to get it done. I am 100% self-taught in everything I do (composing, orchestration, conducting, and directing) and I’ve learned to trust my instincts implicitly. They are my North star.
What’s the experience been like for you stepping behind the camera for the first time?
Abject terror LOL. Kidding aside, composing music is a solitary act. Conducting on the podium is a group effort. Being on set and feeling the “machinery” of a film crew was a lot for me at first. When you say “cut” there are 50 sets of eyes all looking at you for feedback. It was a lot as I am kind of an introvert at heart. But you rise up to the moment in the moment. But I wont lie, it was kind of like drinking from the fire hose. But by day 3 I had it down.
Did you have any apprehensions about making a film that is inspired by a true story?
Well its inspired by yes, though not completely autobiographical. The struggle was, at the urging of my producers, to make the script as personal as possible. That takes courage I can tell you that. But I’ve learned as post wisdom is, that which is most person is truly most universal. Once I shouldered into that, it all started to flow.
How did Butterfly On A Wheel come about?
It came about as healing journey of my own. It was deep COVID and I was truly on my knees. Flat on my back for over a year, the circumstances of my life had just taken me down. My spiritual counselor (like a therapist) encouraged me to start journaling, which I hate and still do. But what came out of it was the question to myself “ok, start at the very beginning… what is the earliest fondest happiest memory you have in your life?”. The answer was clear and immediate, sitting in my grandmothers lap as she played “Puff the magic dragon” to me on piano. That beat from the film is 100% autobiographical. That’s how it started.
What was the biggest challenges your faced bringing Butterfly On A Wheel to the big screen?
My learning curve as a director. Again I am self taught, so I took a year to learn how to direct. Every book, every online course, every YouTube video, all of it. I need to know how things work to a certain degree in order to function, so I just went deep and immersive and did my “PHD” in directing 12 hours a day for a year.
What was the message you wanted to convey with Butterfly On A Wheel and do you think you achieved that?
That our perceived “flaws” or “deficiencies” are the true strengths and keys to make us “us”. That is to say… what seems like our setbacks are in fact our superpowers. They are they very keys in making us who we are. And the message of embracing those so-called flaws and celebrating them and almost thanking them, as we wouldn’t be the awesome people we are without them. And yes, I do believe I have achieved that message not because I say so, but because I’ve screened the film with live audiences 6 or 8 times, and the look on people’s faces, total strangers, as they come up to me after seeing it and tell me “I feel seen”. It’s absolutely an incredible moment for me.
How important is the creative collaboration between you and your DOP, Scott McClellan, and editor Isaias Garcia, in achieving the look and feel you wanted for your film?
Very. Scott’s imagination and interpretation of how I imagined to the movie to look and become, was brilliant. Including and especially the flashbacks with young Jacen and Grandma. I get comments from strangers all the time on the cinematography, often referencing those scenes which Scott referred to as “the heart of the film”. And to Isaias, he has an ability to read my mind and soul, quite literally. His sensibilities are acutely in tuned with my own. Such a gift to me.
Where you very involved in the casting process?
Of course, very. The universe did most of the heavy lifting for me though, quite literally. I asked her for help, vibrated on that frequency and she delivered. The rest of that story is another bottle of wine.
Was it always your intention to compose Butterfly On A Wheel, and being the writer/director did this give you a different perspective on how you created the score?
Yes absolutely. No one else could have composed it but me. Not because I am super brilliant or anything like that, but because its so personal to me, and I knew exactly what I wanted to say with the score and the little song I wrote for the end. In terms of a differing perspective, it was sure nice to not get any notes on the score.
An interesting aspect of the film, shot in Toronto, is that you really take time to showcase Toronto in ways we don’t normally see in films (usually dubbing as NY). Was it a conscious decision to let audiences see the wonder and truth of the city?
Yes, it’s a quite love letter to the city I love. And I do truly love Toronto, one of the best cities on earth. And also yes, Toronto for Toronto as we say (not Toronto for Chicago or New York). I get a lot of positive feedback on it too.
You are also turning your short into a feature, will you expand on what you’ve done with your short and showcase more of the real Toronto?
No. The expansion of the short into a feature involves a parallel narrative with different characters in a different place (and possible time). I’ve explored the characters you’ve seen, I want to explore others but the themes and beats important narrative points parallel each other. A new chance to explore my themes with different faces.
"The main lesson I learned, through attrition and soft regret of moments I didn’t get the way I wanted, is to trust MY instincts."
Do you have a favourite part of Toronto? I live in London, South London, and for me its crossing Waterloo bridge and seeing Battersea Power Station, something about it just cures the soul.
The core, where my place is. So walkable to everything. Kind of like Mid Town to NYC. I can just walk out of the condo in every direction and wade into the diverse people of Toronto and wade into the stream. I truly love it.
Have you always had a passion for filmmaking?
Yes in various ways and forms since I was a kid. Likely before I even knew how to label those passions. I’m a “Star Wars” kid, so it all starts there for me in discovering a world and a feeling of being transported that I never thought possible.
A debut film is a great opportunity to learn and break some bad habits, what would you say have been the most valuable lessons you’ve taken from Butterfly On A Wheel?
So many. The main lesson I learned, through attrition and soft regret of moments I didn’t get the way I wanted, is to trust MY instincts. No on else’s but mine. Yes it takes a village, and I am very good listener, so I listen to everyone. But even if they are wrong, my instincts are from my point of view. And at the end of they day, I and I alone am the custodian of the story. It has to be that way.
Is there any advice you would offer emerging composers?
Compose everyday and network !
And finally, what do you hope audiences will take away from Butterfly On A Wheel?
That what makes you different makes you awesome, makes you “you”.. That you deserve to be “seen” for who you truly are, and that there is a place in this world for your authentic voice. Embrace what makes you “different” from everyone else, those are your superpowers.