IT WILL COME FOR YOU
Type
Experimental Short Film
Client
Independent
Role
Writer Director Editor
Year
2022
THE DIRECTOR'S NOTE
I made this film to find out how much direction could compensate for a lack of production. With a phone, non-actors, no dialogue and almost no equipment, every creative decision had to do more work. I built the film around composition, pacing, sound and small details hidden in the frame, using each limitation as another opportunity to shape the audience's attention. The challenge wasn't making a film with very little, it was making the very little feel like enough.
THE DIRECTOR'S NOTE
I made this film to find out how much direction could compensate for a lack of production. With a phone, non-actors, no dialogue and almost no equipment, every creative decision had to do more work. I built the film around composition, pacing, sound and small details hidden in the frame, using each limitation as another opportunity to shape the audience's attention. The challenge wasn't making a film with very little, it was making the very little feel like enough.
THE PROCESS
The process started with figuring out what I actually had to work with. I didn't have actors, so I built the film around a single protagonist. I didn't have a microphone, so I avoided dialogue. I couldn't rely on facial performance, so I covered the protagonist's face and built the character around that limitation. Films made with similar resources often become chamber pieces, confined to a handful of characters and locations. I had the luxury of space and time, so I used them. I built the story across multiple locations and sequences, brought my friends into the process, and worked with a friend to create the original score.
THE PROCESS
The process started with figuring out what I actually had to work with. I didn't have actors, so I built the film around a single protagonist. I didn't have a microphone, so I avoided dialogue. I couldn't rely on facial performance, so I covered the protagonist's face and built the character around that limitation. Films made with similar resources often become chamber pieces, confined to a handful of characters and locations. I had the luxury of space and time, so I used them. I built the story across multiple locations and sequences, brought my friends into the process, and worked with a friend to create the original score.
THE LANGUAGE
I wanted the film to feel like a memory from a world you couldn't quite place. There’s something familiar about it, but never enough to make you comfortable. I was drawn to the unease of neo-noir, the strange logic of fantasy, and the quiet tension of a slow burn. The world is deliberately sparse and almost post-apocalyptic, leaving the viewer with very little to hold onto except the character, the atmosphere and the feeling that something is coming.
THE LANGUAGE
I wanted the film to feel like a memory from a world you couldn't quite place. There’s something familiar about it, but never enough to make you comfortable. I was drawn to the unease of neo-noir, the strange logic of fantasy, and the quiet tension of a slow burn. The world is deliberately sparse and almost post-apocalyptic, leaving the viewer with very little to hold onto except the character, the atmosphere and the feeling that something is coming.
