As emotionally raw as the scripts I write are, I want the actors to know I am here to create an environment of safety and ease for them to play and emote freely.

I am a lover of cinema, in every genre and language. I am a lover of artists and the way an actor can emote with such vulnerability and truth. I am a lover of the crew who brings all the small details that matter to life for the film. I’m a lover of the studio heads and producers who love art and put the energy into getting films made. I’m just a lover, and I would love to collaborate and partner with all artists who share a love and passion for our craft.

If any of my plans for this pentalogy interest or excite you, please know I am looking forward to collaborating!

Long before we go to camera, to establish the interconnected world of this pentalogy, we will host a three-day world-building table read—happening either three days in a row or planned throughout the course of a few weeks. To mimic the planned double feature theatrical release, Day One will feature back-to-back readings of Palliative and Unsighted and Unspoken. Day Two will cover Disco Fries and I'm Tired of Feeling. Day Three will culminate with our finale, The Quietest Room.

Of course, those whose busy schedules prohibit them from coming will be missed, but bringing the entire cast together early allows every actor to see how their piece fits into the larger puzzle. It gives everyone a chance to just love on their fellow actors in these complex roles and opens the door for any open dialogue, questions, and comments.

I want to foster a true repertory company environment. To encourage this, our talent can request to read any of the five scripts in the pentalogy. If an actor falls in love with another character in a different film that hasn't been cast yet and wants to step in to play that role, it is more than welcomed. It'll be a delight to add depth to these worlds and play around with different characters with such wonderful actors.

Following this table read event, we will shift into intimate micro-rehearsals for each script to flesh out characters, discover core motivations, and build trust before the cameras ever roll so that we're all ready and can bring that spontaneous energy to the set, having lived with the characters and confident in the story we're telling together.

To achieve a level of digital intimacy and that voyeuristic vibe, our approach to lighting and blocking must be highly fluid. By utilizing natural light, negative fill, and a 360-degree approach to our locations whenever possible, the goal is to give actors the complete physical freedom to move organically through a scene. And because they aren't confined to marks, the camera will react to and chase the emotion as it unfolds in real-time.

I hope the slate will be shot on high-end digital sensors (such as Arri Alexa or RED) and tailored in-camera to reflect the psychological state of each story. I want all the films to evoke that closed-grain reversal film stock that John Cassavetes utilized so beautifully in his films. But for Disco Fries and Palliative, I would like an added effect to reflect and mirror their distinct stories, with Disco Fries being set in a disco club in 1979 and Palliative being more kinetic from its world of cosplay.

Disco Fries: To capture a grounded, 1970s aesthetic, with the help of a great cinematographer, the aim is to pair the modern digital sensor with vintage glass. By combining older lenses with a live color reversal emulation on our monitors, the film will feature a warm, high-contrast, richly grained look that feels viscerally tactile.

Palliative: Serving as a sharp visual contrast, Palliative will lean into a more "animated," hyper-real landscape. This will be achieved using crisp, modern wide-angle lenses placed intimately close to the actors, paired with bold, kinetic camera movement and stylized RGB lighting. The result is a visual experience that is aggressive, precise, and deeply emotional, just as the emotions the characters are experiencing.

Because the production schedule is engineered for maximum efficiency, the editing process begins on set. By integrating a dedicated on-set editor or Digital Imaging Technician, we will assemble rough cuts of scenes immediately as they are shot. This real-time feedback loop ensures we capture exactly what we need without relying on costly over-coverage, seamlessly feeding into our rapid-fire, month-long theatrical release strategy.

Utilizing this agile production model and an on-set editor, this pentalogy is designed to be shot efficiently. Meticulous pre-production and intimate micro-rehearsals will ensure that when cameras roll, everyone feels prepared, supported, and confident to execute.

This culminates in a groundbreaking theatrical event spanning a single month, utilizing a rapid-fire release strategy to build compounding audience momentum as each film builds upon the pentalogy's world and theme:

Week One: Double Feature (Palliative & Unsighted and Unspoken)

Week Three: Double Feature (Disco Fries & I'm Tired of Feeling)

Week Five: Single Feature Finale (The Quietest Room)

This ambitious release strategy is designed to leave a lasting impact on the hearts of audiences around the world, bringing what I hope to be a collective exhale and universal empathy garnered through our shared humanity.