I knew I wanted to be a filmmaker before I ever touched a piano. But music got there first and gave me the foundation. It didn’t just sharpen my instincts as a director. It taught me how to watch. How to listen. How to appreciate all kinds of films.

Wow, Andor Season 2. I’ve always admired Tony Gilroy and Beau Willimon. I performed Willimon’s Farragut North and stole from Gilroy’s Michael Clayton. Watching them take Star Wars in this direction is a gift. It depicts the rise of fascism in a way that cuts too close to home. Bravo.

Started with a colleague, ended up in a full-on reckoning. What began as a frustrating exchange with someone who should’ve known better led me to bigger questions: Are we actually trying to “save cinema” or just preserve it for the comfort of the anointed few?

Props to Jerrica Long and Greenlight Yourself. Every time I hear someone say they want to ‘save cinema,’ I have to ask, from who? BIPOC audiences and creators never left. What’s dying isn’t cinema. It’s the illusion that one class, one culture, one aesthetic gets to define it.

Before you dismiss Stitch, hear me out. As a filmmaker, and educator, I’ve seen how this chaotic blue alien continues to speak to immigrant families, neurodivergent kids, and anyone who’s ever felt like they don’t quite belong.This isn’t just about IP. It’s about identity, empathy, and ohana.

It’s been a minute since I posted. Partly because I was sick. Mostly because I needed time to spiral. New post’s up. It might have feelings. It might be a think piece. It might be both.

Been watching The Studio on Apple TV and couldn’t help thinking… what if we ran the place on purpose? Wrote a piece on how I’d run a film studio.

He’ll always be Iceman, but he’s my favorite Batman. Rest in peace, #ValKilmer

Ever wonder if we lost the magic of cinema in a world of endless scrolling and fast food content? In my latest newsletter, I dive into the power of the curated frame, how filmmakers create memorable moments, and why we need to slow down and truly see the art in front of us.

I’m a sucker for a Disney live-action flop—and no, I’m not talking about the remakes. Give me The Rocketeer, Dick Tracy, and both Parent Traps any day. These movies are bold, weird, and way more fascinating than they get credit for —a deep dive on the beautiful mess of Disney’s live-action legacy.

Someone once told me not to get too personal on Substack—but when it comes to Gene Hackman, I can’t help it. His work shaped my love for cinema, and this is my tribute to him. #GeneHackman #Film

Timothée Chalamet’s SAG speech triggered my imposter syndrome—but also made me ask: what does greatness look like in my own field? As a director, is it control, collaboration, or something else? I explored that question on my latest post pre-Oscars: How do directors define their own ‘greatness?’

My take on songs snubbed for an Original Songs Oscar. I listen to everything, but I love me my soundtracks. Take a gander and let me know your favorite original song from a movie last year!

Everyone gives me crap for being the biggest Miami Vice fan. To this day a t-shirt/blazer combo is my go to attire. Hear me out on my love for this Mann.

I’m gonna go out on a limb and have a hold my beer moment to anyone who thinks #TheBrutalist is the next cinematic Second Coming. Here goes.

Some movies are instant classics. Others get buried by bad marketing, bad timing, or plain bad luck. 2024 had no shortage of ‘prestige cosplay’ films (looking at you, The Brutalist), but some of the best movies of the year never got the spotlight they deserved. Read my take on my Substack!

I’m finally on #Substack as well where I’ll be writing about film, theatre, filmmaking and everything in between.

Here we go. I started a #Substack. Check out my first article. open.substack.com/pub/filmguy78