When writing a new screenplay is there an organic beginning or do you like to explore the themes, characters, situations before you start lining it all up?

 

I usually start with theme and then I try to find an aesthetic and tone that feels like it could be cinematically exciting to pair with that theme.

 

What was the most challenging scene for you to shoot?

 

Surprisingly, the most challenging part was the logistics of the set design. To convey the move, we had to create two distinct environments: one fully furnished room that we gradually emptied, and one empty room that we slowly filled. By the end, we wanted the new bedroom to evolve from feeling cold and impersonal to warm and inviting. We shot everything in a single house, using different rooms, over just two days so the schedule was incredibly tight.

 

When working on short films how important is the creative collaboration between you, your actors and crew?

 

It’s the whole ballgame.

 

Have you always had a passion for filmmaking?

 

Always and forever.

 

Growing up was there any one film that you saw that gave you the bug?

 

There are a lot of examples I could point to but I’ll say the one that always jumps into my mind is the original Texas Chainsaw Massacre. I know it’s not super relevant to Moving but it’s a film that creates its own specific universe and atmosphere. The filmmaking is bold, playful, and takes itself seriously even during the absurd. It also just made me feel like I could maybe make a movie myself.

 

What was your time at the Tisch School like and how much did this experience help guide your journey into filmmaking?

 

I had a really positive experience at film school and I met a lot of incredible people who I still work with today. Having said that, I don’t view the experience as a pre-requisite for the craft. My biggest learning experiences always came on a set making something.

 

Would you consider directing a short/feature that you didn’t write and vice-versa would you write a film for another director to shoot?

 

Yes definitely. I’m always looking to collaborate.

"If I hit a block with one, I can pivot to another and it gives me space to reset creatively while still moving forward."

What would you say has been the most valuable lesson you’ve taken from your filmmaking journey so far?

The most important shift for me has been learning to work on multiple projects at once. I used to focus all my energy on a single film, and once it was done, I’d go through this emotional crash. Before I knew it, years would pass without creating anything new. Now, I try to always keep at least three projects in motion. If I hit a block with one, I can pivot to another and it gives me space to reset creatively while still moving forward.

Are there any themes/subjects you’re looking forward to exploring with future films?

I really want to figure out a way to do an environmental allegory as a horror movie!

And finally, what would you like your HollyShorts audiences to take away from Moving?

Even now, as an adult I still get stressed out when I need to move. I hope that this story resonates with anyone who’s felt this panic when faced with moving their life into boxes.