1) Can you talk briefly about your background, and how you first got interested in filmmaking?

Despite growing up in LA with both parents involved in the tv/film industry, it wasn’t until the last few years that I became actively interested in filmmaking. As cheesy as it sounds, in college I read an interview with Sofia Coppola where she described how her education in painting helped inform her decisions as a director - I was studying painting at the time so that little seed of an idea stuck with me and excited me. A few years ago I moved back to LA and began working on productions in the art department, which has been extremely illuminating. Now I’m finally getting around to asking my dad, an editor, to teach me everything he knows - I’m lucky for that. 

2) What’s the backstory here - what was the initial idea and how did it evolve from there?

I’ve worked with Wayne before and knew I wanted to make another project with him. Over the summer I was dogsitting in that beautiful house and decided to write something using him, the house and Luna (the dog). After I cycled through a few rough ideas I wrote down the word “whistleblower” and it made me laugh. 

3) What was the biggest challenge in making this film? And generally what part of the creative process do you enjoy the most, and the least?

Editing, for both technical and non-technical reasons, was the most challenging part of making this short. Editing is usually the most difficult part for me, but also the most satisfying when the final details get to be laid in. The most enjoyable part is storyboarding and then having to decode my chicken scratch drawings for the whole team: “No no, that’s a soccer net!” etc. 

4) What’s a film you’ve seen recently, new or old, that you really loved and why?

I just saw LA Story with Steve Martin for the first time. Wonderful, wonderful, wonderful, wonderful...

5) What’s next for you?

I’m working on writing something that’s longer than two minutes and fifty seconds long.

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