My Filmography:
A Journey Through
Creativity and Collaboration
Welcome to my filmography page, a comprehensive showcase of the diverse and imaginative projects I've been privileged to create and contribute to throughout my career. From my early collegiate work to professional endeavors, this collection captures the evolution of my technical skills, storytelling, and artistic vision. Each film represents a unique chapter in my journey as a filmmaker, reflecting the collaborative spirit and enduring friendships formed along the way. Join me as I reflect on these memorable experiences, each film a testament to our collective creativity, resilience, and passion for the art of filmmaking.
The Beginning
Circa 2012My journey into filmmaking began with creating videos with a couple of friends. We would film on our crappy flip-phones or an iPod Touch and have a ton of fun doing it. The second video here marked a significant milestone in my filmmaking journey as it was the first time I edited footage rather than relying solely on in-camera cutting techniques. Through this project, I discovered the enjoyment of editing and its profound impact on the final product. The fun I had doing this with friends undeniably sparked my passion for film and creativity.
BingeThemCringe
Circa 2016During my sophomore year of high school, I created a YouTube channel titled “BingeThemCringe” with a few friends. For a Spanish class assignment, I made a cooking video, that ended up going completely off the rails, ending with a funeral for my character. Through this project, I discovered a unique style and absurdist comedic tone in my work, that would be present through nearly all of my narrative creative projects.
MWSU - Year One
Circa 2018-2019My first year of college was a period of immersion and discovery, primarily spent getting acquainted with the film and theater department. I participated in numerous theatrical plays, both on stage and behind the scenes, honing my craft and building relationships. I joined the Griffin Film Society (GFS), a student-led group dedicated to creating short films, where I acted in my first film, Due Date, directed by Nathan Gonder. This experience allowed me to showcase my acting skills and forge strong bonds with future close friends. My acting continued in various student films, including A Stoplight at 3 AM, directed by Andy Coutts, helping me establish a reputation within the department. I had the honor to join a team for MWSU’s annual 48hr Film Festival, where we created the film Sincerely Ezra. I also directed my first film, Stuck, produced by GFS, which earned me respect and a sense of belonging in the community. Additionally, I contributed to GFS’s Big Red Truck anthology, acting in one interstitial, and editing two others. A significant class project was The Letter, a collaborative effort that, despite its simplicity, became a source of pride. Overall, my first year was deeply fulfilling, marked by collaboration and the joy of creation.
MWSU - Year Two
Circa 2019-2020In my second year of college, I had the privilege of being elected vice president of Griffin Film Society, working alongside close friends Nathan Gonder, Angelique Gonder, and Ryan Lewis. I started the year by working on Nathan’s film “A Nap in the Woods”, a comedy about a girl scout who stumbles upon a dead body in the woods. I had the honor to do production sound for this film. Following that, I got to edit "Addictions Anonymous," a thriller comedy produced by GFS, experimenting with sound design and music to build tension. Another film I had the opportunity to act in was GFS’s “One Shot”, a film about one man’s struggle with addiction. It was shot all in one take, which felt very similar to being on the stage. I then served as the cinematographer for "A Prison Guard's Tale," my first foray into this role, filmed in a historic mental health hospital museum. This experience deepened my passion for cinematography, even as I recognized areas for improvement. Next, I participated in the 48 Hour Film Festival with "The Cure," playing the lead role in a post-apocalyptic narrative. This intense project required rapid collaboration, providing insight into different creative processes. Finally, just before the COVID-19 shutdown, a group of us created "A Penny a Day," a fun, lighthearted film that we hold dear. This project, completed right before we went home, was a joyful and memorable way to end the year.
The Crystal Bepsi Series
Circa 2019-2020Following the success of the Big Red Truck anthology, the Griffin Film Society produced the Crystal Bepsi anthology series. This time, I had the honor of serving as the vice president of GFS, which allowed me to play a significant role in writing, producing, directing, and working as the cinematographer for these interstitials. The idea for Crystal Bepsi originated from an offhand joke by our friend and treasurer, Ryan Lewis, based on the Crystal Bepsi meme that was popular at the time. We took this concept and created a series of commercials that became increasingly absurd and chaotic, culminating in a complete and utter absurdist mess. This project was incredibly fun and gave me the opportunity to bring some of the wildest ideas to life with my best friends and create our most eccentric series yet.
MWSU - Year Three
Circa 2020-2021My third year of college, amid the fall of 2020 and the ongoing COVID-19 pandemic, required significant adjustments. With masks becoming a constant presence both on and off set, we navigated new challenges to continue our studies. I began the year acting in Nathan Gonder's thesis film, "K.U.R.U. (Kinked, Unique, Romantic, Unusual)," a psychological thriller/horror film. I played Dean, a man spiraling into psychosis after discovering his deceased girlfriend was a serial killer who might have fed him human meat. This intense role deepened my acting experience. I then participated in "Scallywags," a play written by Nathan Gonder and directed by Angelique Rowan, which was filmed instead of performed live due to COVID-19 and the dissolution of the theater department. Playing Cap’n, a struggling pirate captain, in this lighthearted comedy was a delight.
Griffin Film Society's "The Last One," a period film set in the Roman Empire, provided me the opportunity to serve as cinematographer, allowing me to refine my skills through action and dramatic scenes. Following that, I played Grant, the lead in PMO Productions' "Little Favors," a film about a man’s desperate attempt to retrieve a stolen, sentimental ring, which led to unforeseen violence. Lastly, I capped the year by acting in Mary Couture's thesis film, "From Here to Taco Box," directed by Ryan Lewis. I played Tucker, a robber engaging in humorous dialogue with the main characters. Despite the year's challenges, each project allowed me to grow and adapt in new ways.
The Covid Times Anthology
Circa 2020-2021What do you do when, in the middle of your college career, a virus shuts down the entire world? When global protests break out in response to systemic injustices? When your university dissolves the theater department—a department closely intertwined with the film department—due to “budget cuts”, yet decides to launch an expensive e-sports program instead? This is the reality we faced during the 2020-2021 school year. The theater department, despite being largely self-funded and immensely valuable to both the school and its students, was eliminated, revealing the harsh truth that money, not education or community, was the bottom line.
In the face of such upheaval and disillusionment, the Griffon Film Society chose to respond creatively. With my best friends, we created the COVID Times Anthology—a series of intentionally subversive and absurd skits. These skits, lacking a clear through line and often crude, might be seen as devoid of any artistic message. However, they were our way of pushing back against a system that had failed us. This project was a defiant middle finger to our school and the corporate structures pervading public universities. It was our declaration that if the institutions didn't care about us, we would make our voices heard in our own way. Through humor, absurdity, and raw creativity, the COVID Times Anthology became a cathartic expression of our frustration and resilience.
MWSU - Year Four
Circa 2020-2021My fourth year of college was a whirlwind. As seniors, my peers and I were now the ones others looked up to. The year kicked off with us creating a film entitled Murder for our school's 48-hour film festival. Unlike previous years with multiple teams, this time our team was the only participant. Despite the lack of competition, we embraced the situation and had immense fun. We received the thriller prompt and crafted an absurdist thriller where a killer’s friends, after killing him in the woods, hilariously manipulate his corpse to deceive the police, reminiscent of Weekend at Bernie’s. A highlight was having a cameo from an actor from The Greasy Strangler, a cult favorite among my friends and I, making the experience even more special. Next, I recorded a live rehearsal of Me and My Robot Family, a play I wrote and directed. Set in a post-apocalyptic world where robots have taken over, the play humorously explores a family of humans pretending to be robots to avoid detection, culminating in an alien invasion. This absurdist ensemble play was a creative delight.
For our cinematography class, we collaborated with the preservation department in St. Joseph, Missouri, creating an informational video to highlight the importance of historic site preservation. As a camera operator and editor, I enjoyed shaping the narrative to appeal to a younger audience with the tagline "not your grandma’s preservation." In our directing class, I acted in and helped edit The Makeover, directed by Ryan Lewis. This quick, absurdist film followed my character, newly single and seeking a makeover to reenter the dating scene. The spontaneous creativity made it a fun project.
As president of Griffin Film Society, I was involved in Date Night, a film where I focused on casting, producing, and working as a grip. It was rewarding to let other members take on major roles while I supported and guided the production. Finally, I assisted in Peekaboo, a thriller by Nathan Gonder about a man being stalked after witnessing a murder. Working as a production assistant on this high-level production was an incredible learning experience, rounding out an eventful and fulfilling year.
Senior Thesis Films
Circa 2020-2021Senior year marked the pinnacle of our college careers, where we each had the chance to create a senior thesis film, a culmination of all the skills and knowledge we acquired during our undergraduate studies. These films were designed to showcase our abilities to potential employers and serve as a testament to our journey through the film program.
For my thesis film, The Breadman, I explored themes of legacy and personal choice through the story of Rye, a baker torn between his love for baking and a new romantic relationship. It was a lighthearted, absurdist tale, and I had the pleasure of writing, directing, and producing it with my closest friends.
Next up was Mack Osborn's Jane, a retro 80s-inspired supernatural film. The plot centered on a girl who, after being attacked by her abusive sister, discovers her latent powers and accidentally kills her. The film delves into themes of loyalty and chosen family as her friends help her confront the resurrected sister. I contributed as the second assistant camera, enjoying the film’s nostalgic and thrilling elements.
Parker Jahn’s If Only was a dreamy romance that followed the intertwined lives of two individuals. As a grip and gaffer, I supported the stunning cinematography that made the film visually captivating and emotionally resonant.
Intro to the Occult, directed by Jonas Crigger, was a comedic take on a man who falls victim to a cult and attempts to escape with his friends. Serving as the first assistant camera, I enjoyed the blend of humor and horror that made the film unique and entertaining.
Ryan Lewis’s Jason’s Dream was a heartfelt exploration of grief and recovery. I played the comedic role of a Sandman, accidentally altering the protagonist’s dreams. The film’s dreamlike quality and poignant message about moving on from loss made it a standout project.
Kadie Clark’s Paralysis was a chilling thriller about two girls who discover that the shadowy figure causing sleep paralysis is a real intruder in their house. I assisted in various capacities, contributing to the film’s tense and eerie atmosphere.
Finally, Hiraeth by Cooper Herrington was a haunting tale of sacrifice. It followed a troubled father who makes a deal with Death to ensure his family’s well-being in exchange for his life. As a production assistant, I supported the film’s production, helping bring its somber and impactful story to life.
Each of these films represented a unique aspect of our collective growth as filmmakers, showcasing the diverse talents and creative visions that we developed throughout our time in the film program.
Abducted Anthology
Circa 2020-2021My senior year of college was a whirlwind of creativity and collaboration, and I had the honor of serving as president of the Griffin Film Society. This role, which came with the responsibility of crafting a new series of films for the Griffin Film Festival, was a thrilling challenge. Following the tradition of past series like the Big Red Truck, Crystal Bepsi, and the COVID Times anthology, I knew we had to make something bigger and better. Infused with my own brand of absurdist comedy, we created what I now call the Abducted Anthology.
The series begins with Jane, who wakes up alone in the middle of a field, completely disoriented. Her confusion quickly turns to shock when a man claiming to be a pizza delivery guy appears, only to be abruptly shot by Jane. This sudden act of violence sets the tone for the absurdity to follow. As if on cue, a bright beam from a UFO descends, and Jane is abducted.
Jane awakens on a strange UFO, confronted by two aliens who explain in perfect English that she has been chosen to witness the reasons for humanity's impending destruction. The series then jumps through time, presenting various vignettes that highlight human greed and brutality. From cavemen fighting over food to ancient Romans battling over a golden eagle, each scene is a critique of humanity’s darker tendencies. However, the aliens' meddling in these scenarios inadvertently worsens the future, leading to chaotic and comedic results.
As the series progresses, the aliens are ultimately apprehended by the Space Force Time Agency, accused of being time terrorists. Their interference leads to the Earth's destruction, forcing the timekeepers to reset Jane's timeline. She wakes up once more in the field, this time choosing not to shoot the pizza guy, symbolizing a potential new beginning.
Creating the Abducted Anthology was a massive undertaking, involving six visually complex and VFX-heavy films. My role was multifaceted: I helped write them, I directed a couple, shot a couple, and handled all editing, VFX, animation, music, and sound design. Despite the workload, it was a labor of love, allowing me to honor the Griffin Film Society and my journey with my friends.
One of the series' unique aspects was its nod to previous films made by the Griffin Film Society. For instance, one of the aliens’ stops is in Addictions Anonymous, a film from my sophomore year. This provided a humorous connection as one of the aliens humorously discusses his addiction to moon dust. Another stop revisits the Big Red Truck series, offering a nostalgic yet comedic moment with the titular big red truck. We also paid homage to The Last One, a period film set in the Roman Empire that I first worked on as a cinematographer. Going back to old shooting locations with the same costumes we used for new scenes was a meaningful way to reflect on my growth as a filmmaker. Another memorable moment was integrating the Crystal Bepsi series, further developing its bizarre lore with Mr. Bepsi’s divine beverage and his deal with the aliens.
The Abducted Anthology was more than just a series of absurd shorts; it was a reflection of my college experience, blending humor with poignant commentary on human nature. It showcased our growth in technical skills, particularly in VFX and CGI, while celebrating the collaborative spirit that defined my time with Griffin Film Society. This project, filled with creativity, effort, and love, stands as a testament to the bonds formed and the stories shared throughout my college journey.
