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Back in 2011, three heady young filmmakers decided that it was time to stop talking about making movies and actually start doing it. That was when Michael, Ryan, and I founded Finite Films and launched into an insane, non-stop year of filmmaking. If you’re here, reading this blog post, you are likely aware of what came out of that very productive year: 12 short films, all based on constraints submitted to us by our audience every month. And

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As an artist, how do you know you will make something good? That’s always the goal, isn’t it? To make something good—something that’s better than anything you’ve ever made before. Because if you’re actually good at whichever thing you’ve chosen to do with your life (in my case writing and directing movies), then that means you create good work. And if you create bad work…well, by that logic it must mean you’re bad at your

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…and during the midst of Nicolas Cage’s drug trip scene, I was reminded why we should thank the film gods for Scorsese’s signature, cinematic freneticism.  Then the film snaps out of hyper-stylized, drug-trip-mode, and we just get to watch Cage freaking out.  I was then reminded why we should thank those same gods for Cage’s ability to “go all the way” like only Cage can.  It was this moment I went from liking, to really

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Interstellar-Wormhole-Poster

On Tuesday, I reflected on the past work of director Christopher Nolan, and today I’m going to dive into my many, many thoughts on his latest film, Interstellar. This post is essentially wall-to-wall spoilers, so if you have not seen the movie yet, you should probably stop reading now. In May, this trailer debuted online and I decided I was more excited about Interstellar that I had been about any movie in a long time. There

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Dark Knight Rises

Ever since he made the leap from indie-breakout-hit Memento to helmsmen of The Dark Knight trilogy (we can skip over the forgettable Insomnia), I’ve been fascinated and excited by the work of director Christopher Nolan. The kind of movies he makes feels like a lost art: true summer blockbusters that are filled with ideas, with special effects that actually look grounded and real, with plots so layered and complex (and yes, convoluted), that they require

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Ryan here.  Awhile back we/I released a live-performance short film called The Parmesans: Live on a Rooftop in Chinatown (we also released a music video with them a couple summers ago).  I did so without much fanfare, but it’s one of my favorite things I’ve directed and gotten to be a part of, so I wanted to retroactively give it a little bit of that fanfare I feel it’s due.  I thought I could do

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First off, if you haven’t read Part 1 of this blog post, check it out for a little context on the films I’m about to list below. On Tuesday, I talked about three of my favorite films and why they inspired me to want to make movies. There was something in each of them that reinvigorated my drive to be a filmmaker, despite the challenges that lay ahead. They helped me summon the fickle, mysterious energy I’m

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the-fountain

Inspiration is a tricky thing. As a writer / director, I’ve always depended upon this X-factor, this mysterious well of creative energy that allows me to put aside my reservations and fears and just dive into work on a project. I give this magical mystery energy full credit for the crazy outpouring of non-stop, back-to-back filmmaking that happened in 2011-2012, when Ryan, Michael, and I first launched Finite-Films.com and released a short every month based

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Happy Halloween!   So. It’s the late afternoon on October 24th, 2011. I’m visiting with my mom, who has come down to LA for a work trip, when I get a call from Ryan. He needs me to come back up to the cabin, because they need more crew for the next couple days of filming. I don’t want to go. I’m pretty exhausted, having just finished work on Defenseless, and had already been up

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Hey guys! As promised in last week’s blog post, this week’s post is all about the making of The Wedding Gift of Amuno Kensai, specifically the TRON: Legacy section (which starts at about 9:20 if you want to skip to the VFX extravaganza). I’ll let the video do all the explaining. It walks you through everything from how we made the TRON suits to how I composited the actors into the TRON environment using After

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