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Your new movie Transient
- in a few words, what's it about?
Transient
tells the story of David, a tech entrepreneur who, after surviving a
traumatic accident, develops groundbreaking technology that forces him
to confront the ghosts of his past. At its core, the film is about
grief, loss, and learning to live with the consequences of our choices.
It explores the fleeting nature of life—the good and the bad
moments—and the inevitability of our actions shaping who we are.
Ultimately, it’s a story about finding peace by coming to terms with
the choices that define us.
With Transient
being a science fiction movie, is that a genre at all dear to you, and
some of your genre favourites? As
a huge fan of horror and sci-fi, my favorite films are Aliens
and
The Thing, both of which have profoundly influenced my love for storytelling.
However, Transient
takes a very different direction, drawing inspiration from films like Primer,
Possessor and Ex Machina. People who’ve seen the film often describe it as a blend of Eternal
Sunshine of the Spotless Mind and an episode of Black
Mirror, which perfectly captures the emotional depth and speculative edge I
aimed to achieve. (Other) sources of
inspiration when writing Transient,
and what can you tell us about your research on your movie's scientific
background? The original drafts of Transient
were grounded in pseudoscience, stemming from ideas I developed with my
layman’s understanding of technology. I envisioned a machine or AI
capable of reading brain activity and recreating images based on those
readings—similar to deepfake technology or related advancements. To
ensure the concept felt plausible, I consulted an AI engineer who helped
refine the technology in the film, making it scientifically legitimate
up to a point where the story takes fictional liberties. This
collaboration allowed the film’s technological premise to feel both
grounded and imaginative.
Do talk about Transient's
rather unique look and feel! We
shot Transient
on a RED Epic camera, leaning heavily on practical lighting to achieve
the desired look. With a very small crew and no budget for a dedicated
gaffer, the lighting was a collaborative effort between myself, my
assistant director, and my director of photography. Personally, I’m
not a fan of the overly clean digital aesthetic, so in post-production,
I added 35mm film grain and slightly softened the focus on the footage.
This gave the film a more organic, cinematic feel, reminiscent of
classic celluloid. A few words about your
directorial approach to your story at hand? That’s
a tough question. My approach to directing has become almost instinctual
after years of creating short films and working on various features and
commercial projects. Filmmaking is all about compromise. When I was
writing the film, I had a specific vision in mind, but with a budget of
just $15k, much of that vision had to adapt to fit the resources
available. During shooting, my vision shifted, and often, this led to
discovering unexpected and beautiful elements that enhanced the film.
The same process carried over into post-production, where I also
composed the entire musical score to create a distinctive and compelling
atmosphere for the film. What can you
tell us about Transient's
cast, and why exactly these people?
I first saw Greg Poppa in a short film where he played a depressed man
struggling with an ailment. His performance felt so authentic that it
immediately resonated with my vision for David. Even though Greg in real
life is nothing like his character, his ability to convey such depth and
emotion is a true testament to his acting talent. Early on, I realized I
couldn’t imagine anyone else playing David.
I had worked with Eric Francis Melaragni on a previous short film and was struck by his
natural confidence, which reminded me of some of Bill’s qualities.
When he stepped into the role, Eric completely blew me away with the
range and subtlety he brought to the character, elevating the
performance beyond my expectations. Do talk about the
shoot as such, and the on-set atmosphere! The
set was an absolute joy to work on. With such a small crew and a 12-day
shooting schedule, we quickly became like a family. That sense of
camaraderie and collaboration made the entire experience one of the best
of my life. Despite the challenges, the energy and connection we shared
on set made it truly unforgettable. You've also
written the score for Transient
- so do talk about the music in your film for a bit, its musical
influences, and the recording session(s) as such! I’ve
been a musician since middle school and have always had a deep love for
writing music. When it came to scoring Transient,
I didn’t really have a plan—I simply started creating music that I
could hear in my head as I envisioned the scenes. I didn’t try to
compare it to other films or replicate any particular style; it was all
about what felt right for the story and the emotions I wanted to convey.
It was a very instinctive and organic process.
Anything
you can tell us about audience and critical reception of Transient?
The critical responses we’ve received so far have been both amazing
and unexpected. One review even compared the film to the works of Alex
Garland and Primer, which was incredibly flattering. We hosted a
premiere with around 250 people in attendance, and the audience genuinely
seemed to enjoy the film.
However, reaching a wider audience has been a significant challenge. Distribution
for ultra-low-budget films is notoriously difficult and often feels like
a setup for failure. Distributors typically don’t promote these films,
and they rarely appear on streaming platforms’ “new release” or
rental sections. Instead, the film can only be found if someone
specifically searches for it, which makes building any kind of audience an uphill battle.
Any future projects you'd like to share?
I have several other feature scripts ready to go, each tailored to
different budget levels. Like most filmmakers, my ultimate goal is to keep
making movies. Transient
took years to bring to life, and I had
hoped it would open doors to making future projects easier. Unfortunately,
it seems just as challenging—if not more so—to get the next film off the ground.
In addition to narrative filmmaking, I also co-run another production
company, Doc Side Media, where we focus on paranormal documentaries. Our
latest documentary, Surrounded by Spirits,
is set to release soon, and we’re currently in post-production on an
exciting 6-part series featuring Amy Bruni of Ghost
Hunters and Kindred Spirits, which will debut in 2025. What
got you into filmmaking in the first place, and did your receive any
formal training on the subject?
I’ve always loved movies. Ever since high school, we’ve been making tons of
short films, and for me, filmmaking has always felt like a natural
extension of my creative drive. It’s not just something I do—it’s
a way to channel my passion for storytelling and bring ideas to life. What can you tell us
about your filmwork prior to Transient?
I’ve created around 20 short films and work full-time in video production and
have worked on several independent films. For the past nine years,
I’ve also been running a YouTube channel and podcast called Bad
Movie Night, where we review and talk about low-budget films. It’s been a great way
to dive deep into the indie filmmaking world and share my passion for storytelling.
How would you describe yourself as a director? As
a jack-of-all-trades filmmaker, I wouldn’t say I’m the best at any
one thing, but I take pride in my ability to handle multiple aspects of
production—shooting, lighting, editing, and even scoring. More
importantly, I strive to create a fun and collaborative atmosphere on
set, where everyone feels valued and can contribute their best work.
It’s that sense of teamwork that makes the process so rewarding. Filmmakers who inspire you?
Alex Garland, Robert Eggers, Bryan Bertino, John Carpenter, Oz Perkins. Your favourite movies?
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Aliens, The Thing, Blade Runner, Gremlins, Critters,
Shaun of the Dead. ...
and of course, films you really deplore? Taste
is, of course, subjective, but what truly frustrates me is seeing
low-budget or no-budget movies where it’s clear the filmmakers
weren’t genuinely trying to create something meaningful or put in the
effort to make it as good as possible. Budget constraints are never an
excuse for a lack of passion or care—it’s always possible to tell a
compelling story, even with limited resources, if you’re willing to
put in the work. Anything else you're dying to mention and I have merely forgotten to ask? Thank
you for the opportunity! Thanks
for the interview!
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