WILDsound: The Film Podcast

The Dying Knight, 22min., UK Directed by Andrew Gladman A knight, found on the brink of death, embarks on a quest to determine his fate. https://instagram.com/finalframecinema —— Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

Watch the Novel Transcript. Reading: https://youtu.be/v-DA3OuQ9XA Mindy and Tracey have to find a way to pay tribute to both their father's in a way that feels appropriate to them. Performed by Val Cole Submit your work via Submittable: https://wildsoundwritingfestival.submittable.com/submit —— Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

SHAMDEMONIUM, 6min., USA Directed by Grace Ann Rathbun SHAMDEMONIUM is a music video style narrative short film that follows young aspiring actor Barb as she leads up to her final moments alive and her time in the After Life. https://instagram.com/graceannimation —— Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

EDGE, 14min., Spain Directed by Abel Moreno Pradas Locked in, separated by a huge glass and deprived of speech, two people meet without knowing how they got there. Where are the limits that prevent us from acting in unjust situations? Are they physical or are they within us? https://www.instagram.com/abel_moreno_pradas —— Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

AN ANATOMY OF GRIEF, 15min., Canada Directed by Anthony Joseph Spatafora A mother grieving the death of her son while being haunted by his corpse. https://www.instagram.com/ananatomyofgrief_shortfilm/ ——- Hannah Ehman chats with actor Patricia Moser on the making of the award-winning film. Her Instagram: https://www.instagram.com/pajomo326/ Follow Interviewer Hannah Ehman on Instagram: https://www.instagram.com/ehmanhannah/ Watch Hannah's commercial spots: https://www.ispot.tv/topic/actor-actress/bP8/hannah-ehman —— Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

Conversation with directors Hai-Lam Phan, Olivia Mowry, and writer/producer Margaret Cooney from the award-winning documentary film "Asheville is Calling: A Climate Change Emergency" Extreme weather disasters are becoming more common, more powerful, and more deadly. Today, more than ever, U.S. federal agencies like FEMA that help Americans prepare, respond, and recover from natural disasters need to be fully funded, staffed, and ready to act. Hurricane Helene survivor, Colleen Daly, talks about her harrowing experience both during and after this catastrophic event, and how changes enacted by the current U.S. administration are leaving communities to fend for themselves against extreme weather disasters. Communities deserve better than a government that abandons them when disaster strikes, and refuses acknowledge that climate change is harming people here and now. —— Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

LIPSTICK & LIGHTBULBS, 8min., USA Directed by Tamara Luisa Hernandez An evening's plans are ruined when a roommate comes home a day early. & THE LITTLE GIRL, 10min., USA Directed by Tamara Luisa Hernandez The Little Girl” is a poignant true story of a woman who embraces her identity as a plus-sized woman while navigating the complexities of love. Through her late-night interactions with strangers, she confronts the harsh realities of societal beauty standards, ultimately challenging conventional perceptions of attractiveness. —— Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

A single mother and her teenage daughter living on the south shore of Long Island. Fighting each other to be seen. Living in the conflict of oppression and dominance. Both fighting to win, both will end up losing. https://www.instagram.com/longislandsouthshore/ —— Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

Friday Night Flop, 16min., UK Directed by Simon Friedberg, Elliott Gerner A mother tries desperately to reconnect with her estranged daughter. https://www.instagram.com/fridaynightflop —— Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

TRIGGER, 33min., Greece Directed by Haris Gioulatos If you were told there was an organization that could change your life forever, would you go through with the switch. And if so, would you pull the Trigger? https://www.instagram.com/gioulatos/?hl=en —— Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

DEMON, 18min., USA Directed by Patrick Torres https://instagram.com/illuminatingswordsman What motivated you to make this film? I've always been interested in the fantasy/ heroic journey genre of film and I feel like we don't get enough of them today. The muse also seemed to dump a bunch of stories into my head without me requesting them and feel compelled to start creating all of the stories I have written so far. From the idea to the finished product, how long did it take for you to make this film? Demon took about 18 months to create mostly due to a big injury on my end and crew setbacks. Nothing ever goes according to plan haha. I also had to learn and play with Unreal Engine for the temple shots which took a great amount of time as I had no prior experience with these types of programs. How would you describe your film in two words!? Selfish Hero What was the biggest obstacle you faced in completing this film? Like I mentioned earlier, it was definitely the injury (I fell off a horse but it happened after shooting) and learning Unreal. If not for those 2 things I think we could have done it within 9 months. —— Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

Watch the best scene reading: https://www.wildsound.ca/videos/horror-festival-1st-scene-reading-grad-nite-by-sion-raize-interview While enjoying an overnight celebration at a regional theme park, a group of graduating high school students are targeted by a vicious killer wearing a dragon mask. What is your screenplay about? Grad Nite centers around a group of high school seniors on an overnight field trip to a theme park where mutilated bodies begin to pile up. What genres does your screenplay fall under? This is a slasher, a horror slasher, with a dash of coming-of-age for depth. Why should this screenplay be made into a movie? Slashers as a horror subgenre are unique in that nostalgia and familiar beats are expected and celebrated just as much as originality. It's the originality in Grad Nite that is unlike any other slasher you've ever read or seen. These are characters that are sidelined in other stories, taking center stage here, with a unique tone and energy that is patented me (Sion-Raize). —— Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

KNIFE, a 3-minute Micro-Horror Short Film. A slasher told from the point-of-view of the murder weapon. Michael Kuciak is the writer-director-editor of DEATH METAL, and the writer-producer of FROM THE SHADOWS (starring Keith David, Bruce Davison, and Selena Anduze). He has directed music videos and short films, including the award-winning horror shorts KNIFE and STAIRS, and served as a producer and executive producer on several independent feature films. Before focusing on filmmaking, Mike was the Senior Vice President of Development for a literary management-production company. He is the founder and CEO of Blast Furnace Media, and a partner of Alt-House Productions. Mike is a reformed musician; he used to play bass in punk and metal bands in his hometown of Chicago. He now lives in Los Angeles. —— Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

Watch the best scene reading: https://www.youtube.com/watch?v=pk8FWeuRhTA A young man navigates the weeds of dating apps while tending to his makeshift compost pile. Get to know the writer: What is your screenplay about? My goal was to parellel new age dating with, kind of, urban farming or composting. With dating apps, intentions are often vague and can result in so many failed attempts. Often times you can find what you're looking for without even lookingm in a more natural way. I tried to equate that to something that actually happened to me, when tomatoes started growing out of my own compost pile. Seemed like a fun little juxtaposition. What genres does your screenplay fall under? I guess romance and a little bit of comedy? I'd like to expand on this at some point and include more drama. Why should this screenplay be made into a movie? I think a lot of people would be able to relate given the oversaturation of dating apps and the dissociation that can accompany that, when the next person is just a swipe away. —— Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

SCALES - THE TIPPING POINT, min., South Africa Directed by Bruce Young Bruce Young is a deeply curious filmmaker from South Africa who is fascinated by pangolins, an animal on the edge of extinction. Scales is his third film about the animal. This time he is on a personal quest to find out why these quiet, shy, harmless, and yet charismatic little creatures are the most trafficked mammals on the planet. And if there is any hope that they will survive. —— Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

Watch the Best Scene Reading: https://youtu.be/5sBVY0wv-Rw Awaken the Medium is a feature-length script that follows the story of Maggie Samson, whose latest near-death experience thrusts her into discovering her gifts and powers. Maggie is a librarian in her forties. Married to Chris, a professor, with whom she has a son, Justus Samson, now eleven years old. Maggie arrives at a crossroads, unaware of the challenges and mysteries that await her. http://leebicematheson.ca/ What is your screenplay about? Grief, family, love, fear, supernatural events, spiritual awakening.Stanley Kubrick once said - while filming Stephen King's The Shining - 'anything that says there's something after death is an optimistic story.' Awaken the Medium is a feature-length script that follows the tale of Maggie Samson, whose latest near-death experience thrusts her into discovering her gifts and powers. Maggie is a librarian in her forties married to Chris, a professor, who is rooted in science-based belief, with whom they have a son, Justus Samson, eleven years old. Maggie arrives at a crossroads, unaware of the challenges and mysteries that await her. In the aftermath of her parents' tragic death, Maggie decides to move her family into a beautiful house. However, soon after they move in, things begin to happen, strange things. Noises, shadows, unexplainable visions, mirages - every minutiae like this becomes so overwhelming that Maggie realizes she must stop the evil forces nested in the house before it's too late and she or her son and husband are harmed. Maggie meets a medium, Roberta, who helps her acknowledge her gifts. She discovers that she is a medium, a psychic, and a believer, hence the mirages, the telepathic conversations with her son, and the ability to converse with her deceased parents. With this newly found knowledge, Maggie, joined by her skeptical husband, and loyal son, embark on a quest to close the portal to evil she opened, and shut the evil down, once and for all. This script is loosely based on my near-death experience, and our family's transformation after my parents died. Awaken the Medium has been described as 'an elevated supernatural thriller which includes multicultural and spiritual intersectionality: Indigenous wisdom, Catholic doctrine, and parapsychology converging to shape the thematic framework. The use of the "liminal veil" as a metaphysical threshold is a compelling symbolic anchor, deepening the narrative beyond a haunted house cliche. The inclusion of generational trauma, grief, and psychic-medium inheritance gives the story emotional weight and thematic resonance.' J.R. Elliott, Script Adviser. —— Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

CARDBOARD, 23min., USA Directed by Diana Densmore A neglected young girl builds a cardboard time machine and runs away to the future only to find her adult self in the throes of depression, as the two connect they remind each other of the joy of loving oneself. https://www.instagram.com/flusshausfilms Get to know the filmmaker: What motivated you to make this film? Alice Prime, the lead actress, had been bugging me to make something with her and my daughter in it for years. So I was trying to write something that would allow them to play opposite each other. The subject matter comes from my own struggles with mental health. From the idea to the finished product, how long did it take for you to make this film? four or five years… I guess Alice Prime (the lead actress) and I started talking about it, and then a year later, I wrote the first draft. Probably, a year after that, we had a shooting script, and we went into pre-production and production in earnest. By the time we were through the whole post-process, it was another year. How would you describe your film in two words!? The process of making it? Chathartic chaos. The final project? sweet sci-fi. What was the biggest obstacle you faced in completing this film? The rest of life is happening at the same time. What were your initial reactions when watching the audience talkingabout your film in the feedback video? It's nice to hear that people connected with the themes and appreciated the film. —— Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

A dancer and a violinist, isolated yet connected by sound, break and rise through the silence between them. https://www.instagram.com/_the.duet_ Chat with the amazing creative team of THE DUET. (Director Gica Pucca. Producer Karyante Franklin. Writer/Dancer Kristina Perez) ——- Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

Emily, Abby, Dan and Jake, arrive at the remote cabin for a relaxing weekend. After settling in, Jake receives a call and leaves abruptly, expressing concern over a family emergency. Later that evening a hysterical woman, Amber, shows up in a panic pleading for safety. Unfortunately, Amber has led an dark, ominous cult right to their front door. https://m.imdb.com/title/tt2243233/?ref_=ext_shr_lnk ——- Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

Low Roar - Field of Dreams, 4min., Ireland Directed by Kim Saarinen "Today I'll be remembered Tomorrow just a dream It's not what it seems" https://www.instagram.com/lowroar/ https://www.wildsound.ca/videos/audience-feedback-low-roar

A man keeps receiving strange phone calls from a supernatural presence whilst waiting at a bus stop. What motivated you to make this film? I took some time away from filmmaking, and when I decided to come back, I was very conscious about doing it in a sustainable, practical way. Instead of jumping into something ambitious, I wanted to make a contained, execution-focused short that I could bring from concept to completion. That's what motivated me to make Hello. It was also a chance to retrace my creative roots and reconnect with the kind of horror that first shaped my taste, particularly the influence of J-horror. In that sense, the film works both as a proof of concept and a creative reset. From the idea to the finished product, how long did it take for you to make this film? I wrote it around 2012–2013 under the title Boo. It sat with me for years, and in 2024 I found it was the right project to pull off the shelf and develop properly. From there, the actual production was very focused, efficient and smooth. We shot the film in three days, and post-production wrapped in September 2025. So while it took a while, the finished film came out better than I expected, so I'm proud of that. How would you describe your film in two words!? Oh fuck... What was the biggest obstacle you faced in completing this film? Post-production was the biggest obstacle. I wasn't supposed to edit the film, but when our editor ran into hardware problems and funding fell through, I had to take over. Going from director to editor is challenging because you lose that outside perspective and start second-guessing the film in new ways. On top of that, the VFX compositing ran into some issues of its own which required bringing in compositors on Fiverr and finishing a good portion of the work myself. It was a very hands-on, problem-solving-heavy post workflow. —- Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

The Ancient Time Piece, 5min., UK Directed by Justin Walker, Islien Walker Lily, a teenage girl is stuck in a monotonous cycle, perhaps this is connected to an old eerie clock she found in her family's basement, a clock that was still ticking when she found it…. how long had this ancient Time Piece been ticking! https://www.instagram.com/illy_pheebs_productions2012 Get to know filmmaker Justin Walker: What motivated you to make this film? My daughter Islien (co-director and lead actress) wrote the short story The Ancient Time piece when she was 11 years old, now she is 13….the short story was published in the compilation book ‘The glitch twisted tales' which resides in the national library, London UK. Myself and my daughter had discussed making a short film based on her story for sometime… eventually we commenced production this summer. From the idea to the finished product, how long did it take for you to make this film? Haha, well shooting only took 2 days, post production, editing, effects, score sound design took approximately 2 months. How would you describe your film in two words!? Time Reflective What was the biggest obstacle you faced in completing this film? Well being amateur/smartphone filmmakers who produce short films on a zero budget you are always working with restrictions and limitations…..often you ‘think' big during concept/pre production but find in reality you have to work within your means….however you do tend to be more creative due to these restrictions. The major obstacle is finding the time between my full-time job and family life to shoot and complete post production is always a challenge. Obviously there is a challenge in having the final product look a quality piece/semi-professional on limited resources. —- Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

Watch the best scene reading: https://www.youtube.com/watch?v=FtEe_5Vpqzo Omar & a group of boys manage to escape the Sudan Civil War & make it to America after experiencing the most horrific fight for their lives. What is your screenplay about? It's about the Sudanese civil war. The lost boys of Sudan and highlights the terror the orphans went through. Based on true events. What genres does your screenplay fall under? action/adventure also war if those count as one. Why should this screenplay be made into a movie? a story that is not often told from a country where stories are not often highlighted. Tells the story of how to overcome loss and the power of community in that process. Something people can relate to on a global scale via current events. How would you describe this script in two words? survivors guilt. Two brothers going on parallel journeys and struggling through a catastrophe. —- Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

Watch the best scene reading: https://www.youtube.com/watch?v=R2VAxv7qARQ Lee is hired to bring the seducer of a young woman to daddy for his particular vengeance. Daddy is an Arizona drug baron. The seducer works for daddy's Mexican partner. Then too many people with guns and the wrong ideas intrude. And the job just got complicated. Get to know the writer: What is your screenplay about? I will place the logline here for reference: A down-on-his-luck enforcer is hired to bring a young woman's seducer back to Daddy for a particular vengeance. Daddy is an Arizona drug baron. Seducer works for Daddy's Mexican partner. Then too many people with guns jump to half-baked conclusions. And the job just got complicated. And now, what is the story really about. And that is that people often draw the conclusions they want to, and will not be dissuaded by facts. They will rely on preconceptions and assumptions, and jump to the most comfortable, palatable conclusions. The cliche line would be “go with your gut”, the $20 version would say “cognitive bias”. A secondary idea is the danger of mixing personal beefs with business (especially when the action is based on those faulty assumptions). Our protagonist, Lee, the above-mentioned enforcer, tries to figure out what is really going on while others are going off half-cocked (with loaded guns). Those are the ideas that underpin the story. Or we can just enjoy the action, the guys, the gals, the guns, the big old cars, and maybe even spot the hommage à Peckinpah – think The Getaway meets Bring Me the Head of Alfredo Garcia (the vibe, not the plot points). What genres does your screenplay fall under? a) Action b) Crime, in the sense that all the characters are involved in crime or related to criminals, and law enforcement c) Contemporary western, in its setting, and the number of wannabe gunfighters Why should this screenplay be made into a movie? Because, if done right, it would be a fun 110 mins, with enjoyable characters in a crazy action-packed situation. And those who choose can ponder the deeper meanings of the film. —- Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

The world of a blissfully detached woman turns upside down when she's forced to adjust to the ordinary life that exists beyond working at an off-the-wall lesbian bar, and its rivalry with the gay club across the street. https://instagram.com/theboxtrapmovie What motivated you to make this film? Inside jokes between me and my friend Gabby, unfortunate life experiences and the uncontrollable urge I felt to make a feature-length film. From the idea to the finished product, how long did it take for you to make this film? The idea was developed in 2023 and I started writing it as a dramedy, which I don't know why I did because I hate dramedies, and I ended up rewriting it a bunch of times throughout that whole year until it became what it did. We shot it in 2024 and it took me around 10 months to edit the whole thing. So, roughly 2 and a half to three years. How would you describe your film in two words!? Chicken wings. What was the biggest obstacle you faced in completing this film? I think I had many obstacles that felt like the end of the world at the time but seem so small when I look back at them now. The main obstacles are typically the same in every set: actors or crew calling out last minute, technical difficulties, unlucky weather and having to stay on schedule through all of it. We were doing an overnight shoot on one of the Box Trap set days, and it was like 5am. The goddamn birds would not shut up outside. It took us way longer to film a super short outside scene that I had dedicated two hours to on the schedule. Among that, almost everything that could've went wrong that day went wrong and we ended up having to plan a reshoot day, which was an extra $5,000 or so over budget. Looking back now, I am thankful that everything went the way it did because it gave us extra time to really focus on the smaller scenes. But at the time, I almost gave myself a stroke and did not sleep the rest of that filming week. —- Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

Vagabond in Red: Iquitos, 52min., USA Directed by Tom Lonero A recovering addict and filmmaker from Pittsburgh sets off across Peru on a personal healing journey in the aftermath of a global pandemic. Shot entirely solo with modest gear, Vagabond in Red: Iquitos blends raw handheld imagery and poetic narration to explore the human condition through history, culture, social issues, and resilience. Legendary Amazonian landscapes provide the backdrop, but it's the people Tom meets along the way who reveal quiet truths about survival, faith, and connection. This is not a luxury travel film—it's a lived-in journey into what remains when the world goes quiet and we start listening again. https://www.hardmonkeyproductions.com/ ——- Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

Shanaya's Path, 54min., Netherlands Directed by Frank Röhrig Shanaya's Path follows the intimate journey of Shanaya, a young person from Darjeeling who identifies as a woman and dreams of transitioning despite immense social and familial resistance. Since gender norms are rigid and visibility for trans people is scarce in her home town, Shanaya leaves for New Delhi, but her desire to become her true self is met with hostility, shame, and fear.http://frankrohrig.com/ —— Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

He/She/Us Short Film, 19min., USA Directed by Susan Kelejian https://www.facebook.com/profile.php?id=61575877610548 https://www.wildsound.ca/videos/audience-feedback-he-she-us Conversation with the creative team of the award-winning short film. ——— Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

When the fourth wall breaks, a young filmmaker must find his inner creative confidence and take control of his story before it takes control of the world around him. Short film completed at Loyola Marymount University. —— Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

Guillotine, 22min., Romania Directed by Alexandru Hosu https://www.instagram.com/hosu_de_biciclete/ ——- Hannah Ehman chats with actor Irini Katz on the making of the award-winning film. Her Instagram: https://www.instagram.com/irinikatz/ Follow Interviewer Hannah Ehman on Instagram: https://www.instagram.com/ehmanhannah/ Watch Hannah's commercial spots: https://www.ispot.tv/topic/actor-actress/bP8/hannah-ehman —— Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

Now it's better, 12min., Romania Directed by Alice Ioana Nicolae In a world where it is easier to tear down than to build, to blame rather than to take responsibility, there are still resources for a better life. Although very painful and seemingly unique to each couple, the stories of our protagonists are almost universally valid, or perhaps very relevant in our current social and political context.Will the protagonist couples save their relationships? We will see in the short film 'Now It's Better.' www.instagram.com/alicenicolaehl ——- Hannah Ehman chats with actor Adrian Teampau on the making of the award-winning film. Follow Interviewer Hannah Ehman on Instagram: https://www.instagram.com/ehmanhannah/ Watch Hannah's commercial spots: https://www.ispot.tv/topic/actor-actress/bP8/hannah-ehman ——- Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

Feet Don't Fail Me Now, 7min., USA Directed by Fuzhi Zhao The sun will erase your memory. If you don't want to become nobody, you have to keep running. —— Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

In the forgotten corners of the city, a young homeless addict named JD drifts through nights haunted by silence, addiction, and disconnection. Alongside Max, a hardened street survivor, and Luna, a mentally ill woman caught in a cycle of delusion and innocence, JD stumbles through a grim urban purgatory. When tragedy strikes under the glow of streetlights and stars, JD is forced to confront the cost of invisibility — and the fragile spark of hope that may still exist. "Under the Stars" is a haunting, poetic portrait of those society ignores, where even in the darkest moments, humanity flickers like a lighter in the night. Conversation with filmmaker Jason G. Mercado, with his assistant Nadine Emrich. — Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

On September 22, 2025, Chef Matthew Biancaniello embarked on one of the greatest challenges of his life: a 21 mile swim from Catalina Island to Palos Verdes, CA. While his journey is inspiring on its own, he didn't do it just for himself. The swim was a vehicle to raise money and awareness for Indivisible Arts, a nonprofit dedicated to teaching consciousness and creativity to kids. https://instagram.com/frequency.creative   What motivated you to make this film? This is the 2nd film in a documentary series I'm directing called Rhythms, which is all about the unseen rituals of inspiring people. I learned about Matthew Biancaniello's marathon swim to raise money for Indivisible Arts through Robert Wemischner, who's both a friend and was the subject for the first Rhythms film.  I was immediately intrigued, but then I spoke to Matthew as well as Rafael McMaster, the founder of Indivisible Arts, and I was so inspired. I knew I had to tell this story in some way, and thankfully everyone was excited to have me involved in this capacity. Indivisible Arts is a remarkable organization, teaching creativity and consciousness to kids. The first time I went to their space in Hermosa Beach I was taken aback. These kids are able to explore their own sense of self in a way that's rare, as well as build vital mindfulness and emotional intelligence skills. Coupling that story with Matthew's intense swim, 2 years after major back surgery, was something I felt deeply moved by. From the idea to the finished product, how long did it take for you to make this film? I learned about the September 2025 swim in July. By early September we were confirmed to shoot, with production beginning on September 22. We completed the film and released it online on November 2, so it was about 4 months in total. — Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

GHEE, 21min., India Directed by Romi Banerjee A quiet lunch turns upside down when a secret recipe sets off a chain of surprises. https://www.instagram.com/ghee_theshortfilm Director Statement Ever since I could remember, I was obsessed with the idea of “control.” Do we really have control, or is it just a trick of the mind hacking away at us, desperate to be seen, heard, and felt? With Ghee, I wanted to make a film which touched upon the topics of control, power, and ambition. While writing this short film, I aspired to create a rather simple world. Don't get me wrong - It's a simple world, but it is a world where Gods feast on Gods.Structured chaos is the name of the game. I sought after creating a radically dark story without using violence, gore, and external mayhem. I tried to birth an antagonist that was arguably worse than the cruelest dictators of yesteryears - a smiling devil. The kind of devil that sweet-talks you into jumping straight inside boiling, hot lava - all that without lifting a finger. Would you want to live in a world where something like "Enthrallium" has federal approval? A world where conscious thoughts are obsolete? Where hope is a relic? My love for monochrome knows no bounds. I wanted this film to have zero distractions. Also the black and white format allowed me to capture the complex shades of grey that mirror the human psyche reflective of the characters inside the film. The world is grim, and impatient to innocence. This is more than just a story about control; it's a narrative about the madness required to thrive in a chaotic world. Because in this world, only the truly insane survive.

Our Threatened & Endangered Species: Allegheny Woodrat follows the Pennsylvania Game Commission and partners as they fight to save one of the state's most elusive mammals. Once common across the Appalachian Mountains, the Allegheny woodrat has declined for decades due to habitat loss, disease, and the disappearance of its ancient ally—the American chestnut tree. What motivated you to make this film? Allegheny Woodrats is Episode II in a series on Threatened & Endangered Species. These films aim to educate folks on the challenges surrounding species conservation, and what people can do to get involved and actions they can take at home to help all wildlife. Wildlife conservation and management is complex, involving hard work, creativity, tenacity and human politics. If we tell the story well, we can ensure all of our native species persist into the future—because people will not protect what they don't understand and they certainly won't protect what they don't know. The efforts surrounding saving the Allegheny woodrat are complex and involve partnerships across state lines, with varying agencies, non-profits, institutions and universities. There are over 15 groups involved in seeing that this species persists into the future. But the challenges the species' face is multi-faceted: from the effective extinction of the American chestnut, to habitat fragmentation that cascades into genetic isolation, inbreeding and population loss, and finally the increasing raccoon population as a result of habitat fragmentation. To save a species, we must address all of the challenges. The effort, creative thinking and dedication to our wildlife fills me with hope. Despite all the things going wrong with conservation on a bigger scale, these stories are so impactful and clearly state that we can and will affect change if we just act even in small ways. I am driven to make a difference with the films I produce. Documentary film is a powerful tool that helps change hearts and minds—even for species or issues for which are foreign to many people. This species is a particular challenge because of the stigma in its name: it isn't ‘just a rat' and I hope this piece sheds some light on the importance of all wildlife, despite the name we have assigned them. From the idea to the finished product, how long did it take for you to make this film? I started documenting field work with woodrats—actually translocations—in August of 2020. So, shooting took place over five years with the bulk of it taking place in 2024. I began editing full time in late summer 2024, and tried to do re-shoots and all the interviews in early 2025. Altogether the editing process took 18 solid months. I am one person and do all of the things: from research to writing, shooting and editing, it's a monumental task of dedication. ——— Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

Night security guard Tom monitors storage units in Chicago with only his chair and radio for company, until he witnesses regular tenant Mrs. Jones lead a man into her unit who mysteriously vanishes. Conversation with writer/director of the award-winning feature film SHIFT, Max Neace ——- Starring: Angela Alise, Cathleen Kaelyn, Rosanne Limeres Written & Directed by Max Neace Cinematographer: Robert Reed Altman Composer: Crystal Grooms Mangano Production Designer: Jevon Dismuke ——— Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

GINNY'S ENTERPRISE, 18min., Canada Directed by Suzanne Marie Moreau She boldly goes where no girl has ever been allowed before! How a young Star Trek fan foils her family's restrictive roles for girls by becoming the Captain of her own starship. Get to know the filmmaker: What motivated you to make this film? I was motivated by my own coming of age experiences as a girl growing up in the sixties Cold War at a time when gender roles were strictly enforced by a generation traumatised by war. This origin story is a version of my own loss of innocence and a stark recognition of truth as an enigma. It is a reckoning of how I coped with injustice and intergenerational, complex trauma over a lifetime – like Ginny does in the film, at times inappropriately. The film is very meta. It's a path towards forgiveness of self and others, and of healing. It's how I found a way, through storytelling,to those who may have experienced their own version of trauma, to offer a glimmer of hope. From the idea to the finished product, how long did it take for you to make this film? Ginny's Enterprise was one of several short screenplays I began writing in 2019. The screenplay was selected by Toronto and Montreal film festivals, and became a festival finalist in Vancouver, New York, Vienna and Paris, France in 2021. After launching my first short film, Blood Buddies (2022), I began pre-production in summer 2022 and wrapped filming in October that year. Ginny's Enterprise completed post-production and made its debut in film festivals in early 2023. ——- Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

Guns in Paradise is a South Korea–set short film that blends fantasy, action, and romance through a metafictional lens. Trapped in routine, a DVD store clerk imagines a violent, passionate love story between two doomed assassins — unaware that the fantasy she's creating might hold the key to rewriting her own life. Get to know the filmmaker: What motivated you to make this film? In my recent projects, I've been deeply hands-on, taking on nearly every imaginable role within the filmmaking process. Over time, I've worn almost every hat—except one: set design. That gap stayed with me. Wanting to push myself further and expand my visual language, I decided to build a set for the first time. This wasn't just about learning a new skill. It was about deepening the knowledge I've accumulated over the years and becoming a more complete filmmaker. While I don't intend to keep doing everything myself forever—I'm very aware that this approach isn't sustainable long-term—I do believe strongly in understanding every department at a fundamental level. That understanding is what allows meaningful collaboration. When I work with seasoned professionals in the future, I want to communicate my vision clearly, elevate their strengths, and create work that feels unified rather than fragmented. That creative momentum was amplified when I acquired a dream camera: the Canon C700 shooting RAW. I've been a Canon user my entire life, and finding an affordable C700 at auction felt like a sign—fuel added to an already growing desire to create something ambitious and uncompromising in quality. At its core, this project is a love letter to cinema itself. It reflects my personal relationship with movies—the inspiration they've given me, the hope they still represent, and the quiet sadness I feel about the current state of the medium. It's both a tribute and a reckoning, born out of admiration, concern, and an enduring need to create. From the idea to the finished product, how long did it take for you to make this film?This project took two years to make. In general, my short films come together in about two months, featurettes take closer to two years, and full-length features require a minimum of four years. ——- Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

Reach for the Stars, 22min., Australia Directed by Dylan Randall After her mother's passing, young Madeline is struggling with coming to terms with her grief. One night, when a small spacecraft crashes in her backyard, she meets B3R1, a stranded visitor from the stars. https://www.instagram.com/outatimepictures Director Statement Reach For the Stars is a project that I hold very close to my heart, as the idea came after the passing of my Grandad, and how my family and I dealt with the grief that followed. My film aims to be a light-hearted, wonder-filled adventure with emotional undertones that helps us explore the idea of how different people deal with loss, and how that can be overcome.When bringing this story to life, I was heavily inspired by the wonderful work of the ‘Industrial Light and Magic' studio and the puppets created for the original Star Wars, and I began to wonder how I could incorporate these techniques into my story. The emotional weight of this film is carried by B3R1, our little robot friend, while also bringing wonder to your screens. B3R1 acts as an emotional bridge for our audience to connect them to the story and to act as a sense of hope that people may need. Reach For the Stars is a heartfelt, nostalgic, science fiction tale that I hope brings you joy, wonder, and lets you know that it is okay to miss somebody, because that means you really loved them. ——- Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

After Sunset, 7min., USA Directed by Michael Blake Hudon A man, reeling after a serious breakup, reflects on his past relationship and finds a new perspective. https://www.instagram.com/aftersunsetfilm Get to know the filmmaker: What motivated you to make this film? I've loved movies for as long as I can remember. I finally decided to purse my passion and enrolled in The Los Angeles Film School's online Digital Filmmaking program in 2021. I was entering my final six months with the school and had to produce my final project. Writing has always been therapeutic for me, and I was going through a breakup at the time. I don't necessarily think I sat down and said let's make a movie out of it but I believe it was a more subconscious thing and I was searching for answers. From the idea to the finished project, how long did it take for you to make the film? Two years, which I'm not proud to state, but I've sure learned a lot. Most of that time was post-production. It's a really long story and we'd be all day but from pre-production through production, was four months. How would you describe your film in two words? Compassionate and reflective What was the biggest obstacle you faced in completing this film? Gosh, so many. I'd say the answer would have to be the same that all filmmakers face- the money. Like many others before me, this project was almost entirely self-financed. ——- Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

A rag tag trio of criminals are tasked by the devil, to hunt down an outlaw trying to outrun his debt. https://www.instagram.com/nightielightie/ https://kmoore304.myportfolio.com/ What motivated you to make this film? This was my college thesis, and my passion project I have been working on for several years. What motivated me was the characters I crafted along the way, and ths wonderful preformances the Voice actors gave to the characters. From the idea to the finished product, how long did it take for you to make this film? It took me around 10-11 months of work. How would you describe your film in two words!? Questionable Protagonists What was the biggest obstacle you faced in completing this film? My biggest challenge was making time on top of other classes. As a transfer student my senior year I was doing 3-4 animation classes on top of my Thesis. So time management was super hard when you have to do over hundreds of frames for different projects. There are 5 stages of the filmmaking process: Development. Pre-Production. Production. Post-Production. Distribution. What is your favorite stage of the filmmaking process? That's difficult to say, as I love the whole process. But if I had to, I really enjoyed the pre-production, and the production. Once I get my idea I love to tweak and edit it. Polishing and getting all the assets and characters done. I want to say once I got the ok by my professor, I just ran off leash. Made tons of work for the pre-production book, as well as completing the backgrounds. ——- Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

Conversation with writer/producer/actor Ashna Sharan & her acting team Wayne Jay & Roger Gutierrez on the making of the award-winning film REMINISCE. As Monica gets ready to host her older husband's college classmates, a phone call from her estranged sister puts her mind at unease. With the age gap and her questioning the one sacrifice she made for love, she feels like an outsider in her own home. As the evening continues, tensions run hot as truths come to light. After the friends leave, she questions the perfection of her marriage and the power imbalance as her loving husband struggles to rein her in. Project Links https://www.instagram.com/reminiscetheshortfilm/ https://www.facebook.com/reminiscetheshortfilm/ ——- Get to know Ashna Sharan: What motivated you to make this film? The original idea was for a feature film drama so I wrote a short film version in order to be able to get funding / show investors what the feature film would be about. The film is loosely inspired by my own life. I'm married to someone ten years older in real life. My husband and I both got judgment for the age gap, but we ended up deciding to move forward anyways. Having realized that it affected some of my friendships and relationships with others, I can only imagine what a large age gap like 25 or 30 years would do so that's why I exaggerated the age.  As for the professor-student relationship, my grandparents met in a student-tutor capacity so I tied that into the love story of Reminisce. Power imbalance and a generational gap amidst the #metoo movement added an interesting dynamic to the story.  From the idea to the finished product, how long did it take for you to make this film? I had written it towards the end of 2023. We began casting in the spring and ended up doing a crowdfunding campaign over the summer. We shot it in October 2024 over two days in Los Angeles. Post-production was done by April 2025. So all in all, about a year and a half.  How would you describe your film in two words!? Layered and Lovely What was the biggest obstacle you faced in completing this film? Casting for this was particularly tricky so Leslie Morris (the director) and I spent a lot of time with that. I was playing Monica and I had written the role of Brian for Wayne Jay. Since Diana and Patrick were Brian's friends from college, we had to cast people who looked like they could have gone to college with Wayne, but also had the chemistry of long-time friends. We received a lot of submissions so we did self-tapes, virtual callbacks and then an in-person chemistry read. Elisa Nixon and Roger Gutierrez were cast and they did a tremendous job.  ——- Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

BELONG TO YOU, 6min., Iceland Directed by Ísak Magnússon, Óliver Sólberg Belong to you follows a swimming pool employee who thinks about his relationship with his coworker on a quiet night. Hannah Ehman chats with actor Guðsteinn Fannar on the making of the award-winning film. Instagram: https://www.instagram.com/gudsteinnf/ Follow Interviewer Hannah Ehman on Instagram: https://www.instagram.com/ehmanhannah/ Watch Hannah's commercial spots: https://www.ispot.tv/topic/actor-actress/bP8/hannah-ehman ——- Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

Inspired by true events. Faced with terminal cancer, a beloved acting teacher rallies his favourite students one last time to stage his final play. What motivated you to make this film? It began with a group of close acting friends in London who wanted a project to work on together, purely for the joy of acting together again. The story itself is rooted in the loss of a dear acting teacher and mentor who passed away while we were rehearsing a play he had written for our troupe. At the time, none of us knew it would be his final work. When he died, what I felt most sharply was not only grief, but a creative rupture. He was someone who gave language to us as artists, and suddenly that voice was gone. I wrote The Last Rehearsal instinctively in response to that absence. It came from a simple question: who carries the work forward when a guiding voice disappears? The film became a meditation on unfinished work, mentorship, and artistic inheritance. It is inspired by true events, but it is not a literal retelling. A small number of my mentor's words to me appear as voiceover, used sparingly and with intention, not as explanation, but as presence. From the idea to the finished product, how long did it take you to make this film? The script was written around seven years ago, at the very beginning of my writing journey. At the time, it was deeply personal, so I kept it private. About two years ago, a group of my acting friends and I were talking about wanting to collaborate again. One of the actors who went on to play the protagonist remembered the script clearly and strongly encouraged me to return to it. He championed it as the project we should make together, and that recognition became the catalyst for bringing The Last Rehearsal back to life. From there, the process moved very organically. We shot over five days, wrapping principal photography at the end of November 2023. We went into post-production in January 2024, and the film was completed in March 2025. From shoot to final delivery, the process took roughly a year and a half. How would you describe your film in two words? Unfinished inheritance. What was the biggest obstacle you faced in completing this film? Stepping fully into directing. I come from an acting background, and directing was not something I initially set out to do. It required trusting my instincts while holding the emotional and creative centre of the work. What made it possible was the generosity and trust and skills of the cast and a brilliantly supportive seasoned crew, who approached the material with care, intelligence and belief. —— Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

The famous actor comes to Herman in a dream, convincing him to make his feature “Bear Naked Amazonians from Mars.” If he makes the deadline, the film will take Best Feature at South by Southwest, making Herman an international celebrity. What motivated you to make this film? I was inspired by No Wave film  –  a movement from  NYC 1976-1982. In this style, you shoot it now. Before you even have a complete understanding of the story. You blast your way into the production and trust instincts. I thought this would be a great departure from my first narrative film, in which I was much more careful. I think in the future I will return to a more traditional, methodical plan, having learned what I needed in the process of making a No Wave inspired film.  From the idea to the finished product, how long did it take for you  to make this film? 18 weeks and two days from the first day of writing to the last shot of principal photography, then 18 months of editing and graphics, VFX, etc.  How would you describe your film in two words!? Hope High What was the biggest obstacle you faced in completing this film? Other than time and money? Personalities. If even one cast member is not doing an indie film for the love of it, but rather from the money or career advancement it might bring, the whole cast and crew gets infected with negativity.  —— Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

Music Video made entirely in Unreal Engine 5 for the song “BuddhaMachine=HMA” and based off of the short story “Rain Drops” The plot of the music video pulls and expands upon the short story, whose plot is as follows: a worn out detective in future Beijing attempts to solve a series of bizarre murders that involve a street drug called ‘Rain Drops', that purports to send people directly to heaven after use. What motivated you to make this film? After I finished my album, I planned on writing short stories for each of the songs. At the same time my fascination with the workflow and possibilities of Unreal Engine 5 started to grow. I work in film production and have seen people implement it before, but it never crossed my mind that I could do it. So one day the need for a music video crossed with the desire to learn a new skill/program, and I decided to embark on my Unreal Engine journey. I tried to keep it simple at first, use premade assets, touch them up here and there for specific shots. But mostly my goal was to learn the camera and rendering system and see if I could make something compelling and interesting with it. From the idea to the finished product, how long did it take for you to make this film? It took longer than I hoped! My day job is a sound mixer/designer and composer for film. I think from idea conception to final exports and uploads it took me about 9 months. I could only work on it in my spare time however so it took a while. How would you describe your film in two words!? Meditative Cyberpunk What was the biggest obstacle you faced in completing this film? Besides learning a whole new workflow (I've never worked with a 3D rendering system or video game engine for that matter), I think the hardest part was understanding and utilizing UE5's complex rendering engine. It took many many tries in some cases to get it to pump out the shots I needed. Many YouTube tutorials were watched and many a coffee was drunk. —— Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

When a compassionate helpline counsellor begins to grow concerned for the safety of one of her clients, she's forced to decide whether to trust her instincts or follow protocol. Safe is a tense, quietly powerful drama about the weight of responsibility and the courage it takes to listen. Get to know the filmmaker: What motivated you to make this film? Honestly it started with the concept of showcasing our lead actress (Kelsey Cooke) and her talent – holding the audience attention and emotions as the sole person on-screen (supported by some incredible voice actors of course). Once we had the concept and decided how to approach it thematically, it became all about bringing authenticity to such a heavy topic and trying to do so in a way that did not feel exploitative but felt, informative and considered. I wrote the film alongside Kelsey Cooke who brought such depth to everything that we did. From the idea to the finished product, how long did it take for you to make this film? We had the concept in November 2024, but commitments on other projects meant we agreed to only start working on it at the end of January 2025. We wrote between February and March, applied for the Arts Council of the Isle of Man Short Film Fund and were awarded that in April. Location scouting on the isle took place shortly after with production in June and post production in July-August.  How would you describe your film in two words!? That's tough – and I think all of us will have different words for it but for me as director it would be: Vulnerable. Honest.  —— Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

An old man crosses the boundless Kazakh steppe, driving alone. Haunted by memories of a lost love, he stops by Bartogay Lake, flowers in hand. But as he tries to step out, his car door refuses to open, trapping him between past and present. https://www.instagram.com/kitsuney/ Answers from filmmaker Katya Mokolo: What motivated you to make this film? It was made from opportunity, I was in Kazakhstan for another project and seeing the country I couldn't miss this chance. 2. From the idea to the finished product, how long did it take for you to make this film? Scattered 5 weeks 2 weeks for the script 1 day of filming 1 week of editing 1 week of music  2 days of color grading 2 days of VFX 1 day of master and finalisation How would you describe your film in two words!? Melancholic hope What was the biggest obstacle you faced in completing this film? Actually none, for once everything was smooth and all stars were aligned. —— Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

ACT 1 - DISCIPLE: EPISODE I OF THE HARMONY SAGA, 26min., USA Directed by Brad Reinhold The first act, reinterpreted by the director, of the award winning feature film Saga screenplays. Disciple; Episode I of the Harmony Saga is set 80,000 years after the disappearance of Earth. A Galactic Church rules the galaxy, enforcing dogma. Freedom fighters seek liberation. Samantha Sacre, a disciple of the Church, encounters something that will change the course of history forever, and must reconcile what she has learned with how she was taught and raised. This is only the beginning, and, as Sam says, "The best is yet to come." This mythopoetic journey into the far future challenges us to look beyond the surface of our realm, through the lens of a future civilization, and ask, "what does it all mean?" https://www.instagram.com/brad.reinhold —— Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

Watch the best scene reading: https://www.youtube.com/watch?v=Fj9bGNUIFdY A delightful blend of adventure and emotional depth, reminiscent of films like “Finding Nemo,” where the bond between characters drives the narrative through perilous waters. I thought of “The Shape of Water” as well, with its unique exploration of relationships between humans and extraordinary creatures, creating a sense of wonder and connection. Additionally, “A Monster Calls” came to mind, as it beautifully intertwines fantastical elements Get to know the writer: What is your screenplay about? The screenplay is about Gilly, a decades old, extremely intelligent Giant Pacific Octopus who lives in the Mermaid's Cave in Oahu where she has been gifted an information hub by her marine biologist friend. As time passes, Gilly enhances her ability to shape shift and learns how to communicate. In present day, she saves a government agent who is drowning in the ocean. Their relationship is at the center of the character driven story which unfolds like a chaotic, humorous, fast paced rollercoaster. It climaxes with Gilly and her new found friends saving the Arizona Memorial from attack from North Korea's marine biology program. What genres does your screenplay fall under? My story fits the following genres: Sci-Fi, Fantasy, Thriller, Comedy, with slight traces of Horror. It is suitable for all ages. It can be animated, use live actors, or be a combination of both. Why should this screenplay be made into a movie? I have received extremely positive feedback from multiple industry evaluators. I will use the review by the International Screenwriters' Association to answer this question. “The project presents a distinctive blend of science fiction and emotional drama, anchored by the unlikely relationship between Slip, a disillusioned former agent, and an intelligent, shapeshifting octopus named Gilly. Their connection provides both the narrative's emotional center and its conceptual novelty, exploring trust, survival, and empathy in an unconventional yet interesting context. The tone operates in a deliberately hybrid register, merging high-concept science fiction with a light, often self-aware humor. In its best moments, this tonal elasticity creates a sense of discovery and curiosity, it allows for levity in scenes that might otherwise risk melodrama. The concept itself, an intelligent, shapeshifting octopus that engages with humanity, is imaginative and commercially distinctive, particularly in a cinematic landscape with familiar properties. What makes it notable is not simply its novelty but its potential for visual and tonal contrast, the serene oceanic imagery juxtaposed with covert operations, and the organic intelligence of a sea creature contrasted with human technology. Overall, this screenplay's originality and emotional core position it as a distinctive and engaging piece with strong cinematic potential.” Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod