An Interview with Chris Esper, Director of Michael Solace

by Mike Haberfelner

February 2026

Films directed by Chris Esper on (re)Search my Trash

Your new movie Michael Solace - in a few wirds, what's it about?

Michael Solace is a horror/thriller about screenwriter who finds himself on a surreal odyssey where he wrestles with selling his soul and his script.

Now how did the project come into being in the first place?

Kris Salvi [Kris Salvi interview - click here], the screenwriter, had written the script several years prior. Originally, another director was attached to it. That director was going forward with it, but ultimately decided to shelve it. Kris then reached out to me and asked if I would be interested in making it. We've worked together many times in different capacities. I've been a director of photography and/or editor on some of his films. I have also directed two of his scripts, Bent & Undertaker. So I wasn't a stranger to his writing or how to handle the material. When I read the script, it spoke to me on multiple levels for very obvious reasons. The most amazing thing about it was that it felt like something I would write. So, it fit within my voice as a filmmaker.

What can you tell us about Michael Solace's screenwriter Kris Salvi, and what was your collaboration like?

Kris is a very versatile talent, from acting to writing and directing. His writing is especially diverse. He started out writing a lot of material in the crime world or film noir. Over the years, though, he's developed quite a knack for writing very surreal, and sometimes absurd, material that says a lot with visuals and poetic dialogue. This was one such script. As far as the collaboration goes, Kris is always open to feedback and changes. Although there was very little I added or changed to the script. I already felt it was in good shape. The main liberty I took was the design of the devil masks in one key scene. In the script, it didn't specify the masks in detail. It was my concept to make the masks with papier-mache pieces of screenplays. If you look closely, you can see pieces that say "Written by Kris Salvi" or "Written by Chris Esper." So, we used pieces of our own scripts for those.

You've worked with Kris Salvi before quite a few times - so do talk about your previous collaborations, and how did the two of you first meet even?

We met at a film festival in 2011, I believe. Although we didn't really start working together until 2015 or so. We quickly became fast friends after that. It started with him acting in my short film The Deja Vuers. From there, he hired me to shoot and edit his short films, which included A New York Minute, 10:59 PM and Step Right Up. As I mentioned, I also directed his two scripts, Bent and Undertaker. Sometimes filmmakers find their tribe, and we just happen to be a good team. We often share the same sensibilities in our feelings about filmmaking and cinema, and happen to be drawn to the same material. One of us always has a script to share with the other or a rough cut of a film. So we're always bouncing ideas together.

Back to Michael Solace: To what extent can you actually identify with your film's titular character, and the inner torment he's going through?

I think I identify with Michael more than I care to admit. To every creator, their work is precious and is their baby. Once that baby is released to the powers that be or even an audience, it's no longer theirs. It now belongs to the world. So this begs the question of where the creator ends and the creation begins. We are our creations, and letting that go can be like taking air out of the artist or letting your baby go. Nobody wants to get rid of their baby. I feel this often when finishing a film and releasing it to the world. Often, I never feel like it's finished or that my vision isn't being seen as I intended. The worst feeling is exemplified in the film with the use of the red pen. The red pen is meant as a way to show how delicate it can be for someone else to take away your vision and make it theirs.

Michael Solace is a film that's rather surreal in style - so what were the particular challenges of bringing the film's story to the screen this way?

I think between some of my other films, like Imposter, Undertaker and Distant Memories, I find myself drawn to a surreal style of filmmaking. I love the idea of using visuals and sparse or subtextual dialogue to tell a story. The challenge here was making sure the surreal visuals didn't overtake the story. I've had common critiques about this in some of my previous films, where perhaps what I was trying to say didn't always come across. So I was trying to find a balance where I can still use my style to its fullest without being overindulgent.

A few words about your directorial approach to your story at hand?

I'm a big believer in moving the camera when necessary. This, for me, was a story that screamed movement. There have been other films where I moved the camera sparsely and allowed it to find the actors. Here, though, I was anxious to use the camera differently. I tried to use it in a way to show Michael's anxiety while also focusing on performance. So I used whip pans, tracking or dolly shots to communicate Michael's internal feelings, and also fast-paced editing. The only time I didn't move the camera or make fast cuts was during critical dialogue scenes. I felt that the performance should be the star of the moment, and to let the moments breathe.

Do talk about Michael Solace's cast, and why exaclty these people?

Justin Thibault was already cast in the title role before I came on board. I've worked with him many times, so I had no problem with that. He's such a gifted and talented actor. He's always prepared and has a definite idea of how to play a scene without me giving directions. So I often find myself standing by the camera and marveling at his performance.

Diana Porter [Diana Porter interview - click here], who plays Monica, was someone I've known for many years from the local film scene. I first worked with her on a project in 2013, and I immediately saw her talent. She's such a delight to have on the set, but also a very confident actor. She, like Justin, is not someone I needed to give direction to very often. She has an amazing ability to internalize what her character is thinking and feeling in any given moment.

John R. Smith jr, who plays Marcus Shadowman, was recommended to me by my co-producer, Jimmy Jackson. I hadn't worked with him before, but I had seen his reel and headshot, and I had a feeling he would do really well in that role. He didn't disappoint. He came up with great ideas for the character and also ideas to give his character more mystery.

Finally, Paul Noonan, who had a brief role as Angel Donovan, is another actor I've worked with on numerous occasions. That being said, I hadn't directed him in anything prior. So it felt like a good opportunity to bring him on board. While his role is brief, he brought out a side to himself as an actor that I can't say I've seen before. Even for such a brief role, he had a detailed biography of who Angel was, where he came from and how he ended up where he is now. On top of being a great actor, he's also one of the nicest guys.

What can you tell us about the shoot as such, and the on-set atmosphere?

This was a challenging film to make in finding the appropriate locations, having enough background castmembers, and also a few curve balls thrown our way. One such curveball was that 2 days into shooting, I had come down with Covid. So naturally we had to halt production until I was well again. We were also filming the cemetery scene at late hours into the night where we had to contend with little access to power for lighting and also rain. Despite that, it was a fun shoot. It was one of those shoots where everyone came together that made me extremely proud.

The $64-question, where can Michael Solace be seen?

The film will be showing at a few upcoming film festivals in the US. We'll be screening at the Dead of Winter Horror Film Festival in Worcester, Massachusetts on February 22nd. In April, we'll be screening at both the Spring Lane Film Festival in Sanford, North Carolina & New Bedford Film Festival in New Bedford, Massachusetts. Finally, this summer we'll be screening at the Jersey Shore Film Festival in Asbury Park, New Jersey. So it's still in its infancy with festival screenings. We're continuously submitting and hope to have it available for free viewing in the coming year.

Anything you can tell us about audience and critical reception of Michael Solace?

In the one audience screening it had so far, the film got an excellent reception. The critical reception, so far, has been quite good also. What makes it all the more satisfying is seeing critics pick up on details I didn't catch and break it down in a way I didn't consider.

Any future projects you'd like to share?

I'm currently working writing several different scripts including features. My hope is that one of them can get made within the next year or so.

Your/your movie's website, social media, whatever else?

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Thanks for the interview!

Thank you, as always, for the time to interview me, but also to view my work! You're a great supporter of independent film, and it's much appreciated.

© by Mike Haberfelner

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