While the term might not always mean the same to each person, “making it” in filmmaking is as hard to do as it is to define. For many filmmakers, “making it” is more of a state of being than an end goal.
As such, it leaves most of us in the industry simply striving to make films however we can—regardless of whether it means working in a smaller role on a major studio feature or directing our own DIY shorts.
For our coverage of Fantastic Fest this year, we were delighted to catch up with filmmaker Blake Simon to talk about his unique career trajectory from indies to studio films and back to genre indie filmmaking. We also gleaned some insights into how to pull off his stylized, genre-bending horror short “Faces”, which plays Fantastic Fest after winning the Gold for Best International Short Film at Fantasia 2024.
Editor’s note: the following interview is edited for length and clarity.
No Film School: Where did the inspiration for “Faces” come from? What was your process for bringing this short film to life?
Blake Simon: The inspiration for the film came from something that I witnessed in the people close to me, that we weren’t openly talking about. This idea that we’re never really fully satisfied with who we are. I witnessed first hand loved ones who seemed to carry a weight of dissatisfaction that they tried to combat through changing aspects of their identity. Sometimes these changes were small; buying a new watch or article of clothing, other times more overt—completely altering the way they acted, dressed, or physically appeared.
It’s a tricky subject, because we live in a culture that is so supportive of self-expression, which is a beautiful thing. But when that self-exploration doesn’t achieve what we hope it will, and the people around us applaud us like they think they’re supposed to, that falsity terrified me. Thus, “Faces” was born. The embodiment of this dark side of the search for identity and something that could come for any of us.
In terms of the process of bringing the short to life, I have an amazing team of department heads that I’ve worked with for years, led by producers Liz Holland and Jared Selcer. I sent them the script, they loved it and started making phone calls right away. The film came together really quickly because we set a deadline for ourselves. I always like to work on a deadline, that way you can’t postpone or delay, you actually force yourself to make the movie.
Also, I was about to get married so I really had to get this thing shot before then.
NFS: Tell us a bit about your career trajectory working in indie films and studio films alike, how has one process informed the other?
Simon: I started my career as a DIY filmmaker, wearing all the hats and teaching myself every job from writing to shooting, lighting, directing, sound, editing, etc., because I didn’t have anyone to teach me. I started in high school and didn’t have a formal film education until college, but I have to say, the DIY approach is frankly the greatest learning experience you can have. Getting your hands dirty and learning the jobs anyway you can will teach you more than any text book.
I went to film school (LMU) and had a great time. Film school is a wonderful place to meet like-minded filmmakers and really hone your skills and voice as an artist, but having a DIY foundation is invaluable and will separate you from the people who haven’t picked up a camera until their grades depend on it.
Since finishing film school I’ve balanced making my own shorts while working on major studio features. If there’s one thing I’ve learned above all else it’s that it’s exactly the same. It really is no different. The problems we have on a major studio film are no different than the problems you have in the indie world. Someone forgot a detail in the permit paperwork, or the location says you have to be out by a certain time, or an actor is sick. Sure, on the giant films you get fun toys and techno cranes, etc., but that’s not what storytelling is about. You must be able to tell a story with the person in front of the lens without all that stuff. It doesn’t matter if the person is a major movie star or an actor you found from an open casting call. If you can’t tell a good scene with the actor you just met, odds are you won’t be able to tell a good scene with an Oscar-winning actor. It’s all about nurturing the scene and discovering the magic that’s in front of you.
NFS: What camera(s) did you shoot on and why?
Simon: We shot on ARRI Amira. It’s a beautiful camera and I can talk all about the things I like about it, but I also want to stress for anyone reading this—it’s not all about the camera. I could have shot “Faces” with any camera and I’d argue that your lighting and sound are much more important than your camera. My DP, Andrew Fronczak, is a genius and while we picked the Amira for certain reasons, at the end of the day it’s because Andrew understands story, and feeling, and knows how to convey key emotions with lighting that the film looks the way that it does.
NFS: There’s a lot of fun lighting effects in the film, what was your approach to creating these flashy scares?
Simon: Remember when I said I started DIY? Most of the lighting effects in the film are literally a person (usually my Assistant Director Liz Holland) physically flipping a light on and off. Sometimes we’d do this with string or fishing line, other times Liz would have no choice but to literally stand in the shot and my VFX supervisor Geoff Stephenson would have to remove her in post. It didn’t look professional on set, but professionalism be damned…nobody knows what you had to go through when they watch the finished product so get it done by any means necessary.
NFS: Did you watch any specific films or take any general inspiration from other horror films for this project?
Simon: Yes and no. I don’t usually watch specific films right before I shoot, mostly out of fear that you’re going to get some idea in your head that you feel the need to copy and rip off. That being said, the film definitely has inspirations.
Visually, Brian De Palma’s Dressed to Kill was probably the biggest influence on the look of the film. I love that film and the nighttime photography in it is simply stunning. Beyond that, It Follows is a film that lives rent free in my head at all times, so there’s probably echoes of that in there as well. We wanted the film to have the feeling of a classic 80’s horror, but have the story reveal itself in a much more modern way and be a subversive twist on that sub-genre.
NFS: What advice would you give to any aspiring horror filmmakers looking to make their start right now?
Blake Simon: Firstly, find an idea, or a feeling, that you feel deeply and passionately about that you want to explore. Even if it scares you or you’re embarrassed to talk about it, that’s even better. That will separate your story from all the other films that are mere homages to things that have come before. Once you’ve found that, make your movie by any means necessary.Reach out to people whose work you admire and see if you can get them to collaborate with you or if they can recommend other people. Also, it’s going to be scary. Filmmaking is always terrifying and it’s okay to be scared, but do it anyway. Lastly, be patient. This is the hardest part because frankly, it’s going to take a lot longer than you want it to. Trust me. Just never stop.
Author: Jourdan Aldredge
This article comes from No Film School and can be read on the original site.
