October 7, 2025 • 35 mins
Welcome to TFD 301 - Film Podcasts for Everyone. Class is now in session!
In this class our new hosts Lex, Matthew and Robby interview UNLV Film alum Edwin Ramirez ('24) whose 48 Hour Film Project - Las Vegas film THERE'S SOMETHING IN THE WATER won First Place: Best Film of 2025.
Edwin shares his insider's knowledge for shooting a successful 48 Hour competition project as UNLV Film enters its own 48 this weekend (October 10-12)
Takeaways
Preparation is key for a successful 48-hour film.
Finding unique locations can enhance production value.
Casting early can streamline the filmmaking process.
A well-written script is crucial, even in a short timeframe.
Collaboration with a trusted crew can improve the final product.
Editing during filming can save time and improve quality.
Incorporating prompts creatively can enhance storytelling.
Maintaining a positive atmosphere on set is essential.
Feeding the crew is important for morale and productivity.
Having fun is the ultimate goal of the 48-hour challenge.
Summary
In this engaging conversation, Edwin Ramirez shares his experiences and insights from participating in the 48-hour film festival. He discusses the importance of preparation, the writing process, and the challenges faced during filming. Edwin emphasizes the significance of collaboration with a trusted crew and the need for a well-written script, even in a short timeframe. He also highlights the themes and messages in his award-winning film, 'There's Something in the Water,' and offers valuable advice for aspiring filmmakers.
Sound bites
"Preparation is key for a successful 48-hour film."
"Finding unique locations can enhance production value."
"Casting early can streamline the filmmaking process."
Chapters
00:00 Introduction and Technical Setup
01:06 Edwin's Background and 48-Hour Film Experience
05:48 Preparation for the 48-Hour Film Challenge
10:31 Writing and Shooting Process
15:17 Catering and Crew Management
19:56 Technical Aspects and Visuals of the Film
24:43 Themes and Messages in the Film
29:46 The Creative Process: Embracing Procrastination
30:21 Advice for the UNLV 48: Preparation and Casting
31:12 The Importance of Enjoying the Journey
31:28 Looking Forward: Anticipation for Future Projects
32:17 Podcast Structure: Setting the Stage for Future Episodes
34:31 Reflections on the Conversation: Insights and Takeaways
38:48 Final Thoughts: Wrapping Up the Episode
Watch this episode (and all previous episodes) on UNLV College of Fine Arts Podcasts
Credits:
Email us: thefilmdeptpod@gmail.com
HOSTS - Lex de Asis, Matthew Trudeau, Robby Baker
PRODUCERS - Tom Bjelic, Sam Decker
EXECUTIVE PRODUCED BY - Adam Paul, Roudi Boroumand
For The Beverly:
Kip Kelly, Founding Creative Director | Chief Experience Officer
Alexi Harber, General Manager
Ivy Ergunes, Marketing Manager
To read the hosts' reviews, head over to: substack.com/thefilmdeptpodcast
Once again, The Film Department has teamed up with the mad geniuses of The Beverly Theater. Imagined by The Rogers Foundation, The Beverly Theater brings cinematic connectivity, novel collaborations, live happenings, cultural portals, and a zest for independent spirits to DTLV. With a mission to stage uncommon cinematic, literary, and live experiences, The Beverly Theater is Las Vegas’ first and only independent film house, storytelling arena, and live music venue.
For the latest screenings and events at The Beverly, visit thebeverlytheater.com The Film Department Podcast is supported by UNLV Film.
At the film department of the University of Nevada Las Vegas, every story has a beginning.With degree programs for undergraduates and graduates, state of the art equipment and facilities, incredible professional internships around the world, and expert guest speakers, students discover the power and potential of cinema as they prepare for the film and television industry… and beyond.
Learn more at UNLV.EDU/FILM UNLV Film. Find your voice. Tell your story.
In this class our new hosts Lex, Matthew and Robby interview UNLV Film alum Edwin Ramirez ('24) whose 48 Hour Film Project - Las Vegas film THERE'S SOMETHING IN THE WATER won First Place: Best Film of 2025.
Edwin shares his insider's knowledge for shooting a successful 48 Hour competition project as UNLV Film enters its own 48 this weekend (October 10-12)
Takeaways
Preparation is key for a successful 48-hour film.
Finding unique locations can enhance production value.
Casting early can streamline the filmmaking process.
A well-written script is crucial, even in a short timeframe.
Collaboration with a trusted crew can improve the final product.
Editing during filming can save time and improve quality.
Incorporating prompts creatively can enhance storytelling.
Maintaining a positive atmosphere on set is essential.
Feeding the crew is important for morale and productivity.
Having fun is the ultimate goal of the 48-hour challenge.
Summary
In this engaging conversation, Edwin Ramirez shares his experiences and insights from participating in the 48-hour film festival. He discusses the importance of preparation, the writing process, and the challenges faced during filming. Edwin emphasizes the significance of collaboration with a trusted crew and the need for a well-written script, even in a short timeframe. He also highlights the themes and messages in his award-winning film, 'There's Something in the Water,' and offers valuable advice for aspiring filmmakers.
Sound bites
"Preparation is key for a successful 48-hour film."
"Finding unique locations can enhance production value."
"Casting early can streamline the filmmaking process."
Chapters
00:00 Introduction and Technical Setup
01:06 Edwin's Background and 48-Hour Film Experience
05:48 Preparation for the 48-Hour Film Challenge
10:31 Writing and Shooting Process
15:17 Catering and Crew Management
19:56 Technical Aspects and Visuals of the Film
24:43 Themes and Messages in the Film
29:46 The Creative Process: Embracing Procrastination
30:21 Advice for the UNLV 48: Preparation and Casting
31:12 The Importance of Enjoying the Journey
31:28 Looking Forward: Anticipation for Future Projects
32:17 Podcast Structure: Setting the Stage for Future Episodes
34:31 Reflections on the Conversation: Insights and Takeaways
38:48 Final Thoughts: Wrapping Up the Episode
Watch this episode (and all previous episodes) on UNLV College of Fine Arts Podcasts
Credits:
Email us: thefilmdeptpod@gmail.com
HOSTS - Lex de Asis, Matthew Trudeau, Robby Baker
PRODUCERS - Tom Bjelic, Sam Decker
EXECUTIVE PRODUCED BY - Adam Paul, Roudi Boroumand
For The Beverly:
Kip Kelly, Founding Creative Director | Chief Experience Officer
Alexi Harber, General Manager
Ivy Ergunes, Marketing Manager
To read the hosts' reviews, head over to: substack.com/thefilmdeptpodcast
Once again, The Film Department has teamed up with the mad geniuses of The Beverly Theater. Imagined by The Rogers Foundation, The Beverly Theater brings cinematic connectivity, novel collaborations, live happenings, cultural portals, and a zest for independent spirits to DTLV. With a mission to stage uncommon cinematic, literary, and live experiences, The Beverly Theater is Las Vegas’ first and only independent film house, storytelling arena, and live music venue.
For the latest screenings and events at The Beverly, visit thebeverlytheater.com The Film Department Podcast is supported by UNLV Film.
At the film department of the University of Nevada Las Vegas, every story has a beginning.With degree programs for undergraduates and graduates, state of the art equipment and facilities, incredible professional internships around the world, and expert guest speakers, students discover the power and potential of cinema as they prepare for the film and television industry… and beyond.
Learn more at UNLV.EDU/FILM UNLV Film. Find your voice. Tell your story.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
The Film Department is supported by UNLV Film.
(00:05):
At the Film Department of the University of Nevada Las Vegas, every story has a beginning.
With degree programs for undergraduates and graduates, state-of-the-art equipment and facilities,
incredible professional internships around the world, and expert guest speakers,
students discover the power and potential of cinema as they prepare for the film and television industry and beyond.
(00:28):
Learn more at unlv.edu/film.
UNLV Film. Find your voice. Tell your story.
Hi and welcome to the Film Department, the official movie review podcast of UNLV Film.
My name is Matthew Chodot and I'm joined by...
Hi, I'm Lex Stasys.
(00:49):
And I'm Robbie Baker.
Yes, and we just had an excellent conversation with Edwin Ramirez. Edwin was the winner of the 2025 Las Vegas 48-hour film project.
For his climate film, there's something in the water.
It was really, really great. Go check him out on YouTube, Instagram, check out his other work.
For all of our UNLV Film students today, we've got our 48-hour film competition coming up October 10th through 12th.
(01:10):
But yeah, let's jump right into it.
Yeah, back quit yesterday.
Wait, what? Why?
You know, honestly, between you and me, he was a long staple.
Little...
Perinoid.
(01:32):
Honestly, I'm surprised it didn't happen sooner.
Just he didn't say anything to you, did he?
No. Nothing of the ordinary.
All right, hi Edwin. I'm Lex and these are Patuco hosts, Mattie and Robbie.
(01:53):
Today, I feel like it's going to be fun episode just because we have our 48-hour also coming up October 10th through 12th.
Yeah, so I was just thinking you can go ahead and start telling us about yourself and then telling us a little bit about your 48-hour experience before we dive in.
And also a little bit about the film that won.
(02:15):
Sure, yeah. First of all, thank you guys for having me. I'm super stoked to be on this podcast.
Wonderful to have you.
My name is Edwin. I recently graduated UNOV Film May of 2024.
And I'm currently working mainly as a production assistant around town. So I work in commercials, film, music videos, conventions, pretty much anything that you can think of I've been doing for the last couple of years.
(02:44):
I'm not PAing. I do lighting and grip. I've been doing some gaffing work, gripping for commercials and stuff like that as well as a little bit of camera.
And I'm inspiring director. I directed short films when I was at UNOV. And I still try and direct when I have the time and the money.
I recently just directed a 48 hour for the Las Vegas 48 hour film festival in which our film, there's something in the water one first place.
(03:13):
So super stoked about that. I did a lot of 40s in the past. I did about 3 48 hours at UNOV Film, which were all great.
And I had a really fun time doing as well as some 48s for like worldwide festivals like the Agbo 48 hour film challenge and stuff like that.
So I have a little bit of experience with 48s. So I'm super excited at the top of you guys about it.
(03:38):
That's awesome. Okay, so for those of those that have never participated or heard of a 48 hour film festival.
I just wanted to let everyone know. So it's a festival where teams have 48 hours to create and produce something entirely from a stretch.
And I will say, Michael is Matthew over here actually has some experience being a part of a 48 hour.
I actually wanted to do it for a bit because I know he's been dying to have that invitation with you. Yeah, awesome.
(04:02):
Yeah, well, I've I've been learning out a little bit. I mean, I haven't done anything as cool as there's something in the water. I really like there's something in the water.
But I really I've been dying to know I wanted to ask about like your preparation phase.
Because I mean, it's only 48 hours, but you seemed very well equipped for what you were doing. So I wanted to ask how you want about getting your locations for shooting equipment together.
(04:28):
Cast crew, like what that process was like before the actual 48 started.
Yeah, 48 hours are are fun just because the more you do them, the more you realize where you have to prepare, right?
Because the first time you do a 48 you kind of go in and you're like that, it's like a movie and have fun and let's win it.
And then as you do more of them, you're like, Oh, okay, this time we should do this and this time we should do that and kind of prepare.
(04:53):
So for 48's, my you kind of just have to probably like any other short film that you're doing, right?
Just because you're only doing in 48 hours, doesn't mean that it isn't the same.
What I like to do before any 48 is always trying to find nice locations beforehand.
So I'll spend maybe like two, three weeks before 48 going around Vegas and just asking like very cool locations or other coffee shops or comic book stores, auto shops,
(05:25):
like, hey, like I explain the situation, I tell them we're making a short film for competition. Is it okay if we can film there and you know, always be nice and always say that you're a student and that you're not production company and there's no money going behind this and there very much likely will allow you to film in their place.
And the reason I do that is a lot of 48's as you'll probably notice that the you know, the one will shoot in apartments or houses because that's, you know, the most accessible place for them, which just nothing wrong with that.
(05:57):
The downfall is that a lot of Vegas houses look the same.
That's kind of yeah, that's the sucky part is that you film inside of Vegas house and you can tell, okay, it's here or even outside of a neighborhood, you're like, okay, that's a Vegas neighborhood.
So I think that kind of lowers the production value of film a little bit when you see like the same kind of house layout.
So I always try and find cool locations before and you can always do that well before and right like just go around if you know friends that work at places like ask them like, hey, can we film your restaurant or film whatever.
(06:29):
And I find that if you're nice about it, you know, people will let you so.
Yeah, there'll be a little more. Locations, yeah, locations is a big one. And then I try and write the story around the location if, you know, if fits, there's some genres that are super specific like Western, you know, like you probably not gonna film Western like cafe or anything like that.
(06:51):
But I'll typically find my locations and then depending on the genre, right around that location.
So for the something in the water, we had a mechanic shop that was available to us. We had the law firm that we shot in because my producer was an assistant to a lawyer and that lawyer was like a film minor.
(07:12):
So he was very down with us shooting at the law firm. And then you know, the green spot in which I got with my sister because she works with rebel media group and she just knew a guy asked very like last second.
And then we were able to shoot the studio. So yeah, locations is super big. I cannot emphasize enough like go out, look for cool spots they find interesting and see if you can shoot them.
(07:37):
Get your cast and get your crew beforehand, also very important. I think like a lot of crews tend to like write the scripts and then kind of be like, all right, let's cut people or let's like see if we can find cast.
Like during the process, don't do that. Just you know, find friends, find actors that want to be in and just write the script around how many actors you have.
(08:01):
That doesn't necessarily mean that every actor has like a huge role, you know.
But definitely find your cast beforehand because it'll just help you when you're writing.
And then my crew, I mean, the crew that I use for the something in the water is pretty much been like the same crew that I would make films with at you and I'll be you know,
(08:22):
there were film students who had all recently graduated or friends from high school that got into film.
One thing that I did that was a little out of my comfort zone, but like highly recommend for everyone is I went to like an open call audition that had was maybe like 60 actors who all just kind of prepared a monologue.
(08:43):
And that's where I met the majority of those actors from there's something in the water.
So a lot of the actors they've seen the film, I hadn't met two weeks prior shooting.
And it just completely, it was just a huge game changer like they were all such incredible people.
They're all nice. They're all so willing to like work with new people.
So definitely go to like mixers, go to auditions, if you know these like holding stuff like that.
(09:09):
Like meet new people who are just really cool because that's very important to you want you always want people with good vibes.
And just bring them on. So yeah cast, cast early, get your crew early.
The more that you have prepped before 48 hours, the better will probably go for you.
So you know, don't be afraid to like over prepare for 48.
(09:31):
Obviously the fun is getting the genre that night and like prepping the story that night and then all the chaos that ensues.
So the better prep that you are with all that, I think the better 48 will turn out.
For sure. Did you did you film overnight?
No, so the way that I like to structure my 48 and again this is just from experience in the past.
(09:54):
So I feel like I kind of got like a good like rhythm to it.
But we get our genres Friday night.
Then I'll spend all Friday night writing script.
And I think the script is probably like one of the most overlooked things, right? Because like for 48 you can get away with like okay cinematography.
(10:17):
You can get away with okay production design because you only have 48 hours, right?
But we can't really get away with is like a bad script regardless of how much time you have.
So I write a first draft and then I go over it with people I trust you're probably in my crew.
And I'm like hey, like look over this. This is make any sense. I think this is this you know easy to follow.
(10:39):
They'll give me a little bit of notes. I'll be okay. I'll play it.
I'll write a very quick second draft. Nothing too crazy. And I know that might sound insane.
Like I'm what do you mean a second draft? Like this is a 48 trust me because like you guys have probably heard that like first drafts for anything are going to be bad.
And that applies for the 48 too. You know, like you again treat it like you would in another short film like rewrite it if you can.
(11:01):
So we rewrote a second draft and then after that I like to do a table read with the actors.
Just so that the actors are kind of like familiar with the lines.
If there's anything that just sounds wrong or sounds ugly, I'll catch it and I'll write it down.
Or and then all of my actors ask if they have any sort of questions with the script or whatnot.
So we did that around midnight on Friday.
(11:25):
From there, my DP and I we shot listed and then we kind of like finished up a draft that we were happy with.
So we didn't get any sleep. I don't recommend that if you can like shot list.
Write your script get a few hours of sleep before shooting my DP and I were just like insane.
(11:46):
How was it you guys get that whole process?
Oh my god. I mean I
from the time that we started writing. I didn't get any sleep until we were done filming and I got maybe like three, four hours of sleep and then went to editing.
My DP was also my editor. He got like no sleep. He could but he was like locked in in a way that I'd never seen my life.
(12:08):
Like he I had recommended and this is something that I think is super important that I like to recommend to people as well when it comes to editing.
You should either do one of two things. You should either you should have an editor on set.
So as you're filming, you can like dump the footage to them so they can start editing while you're still shooting.
Or have an editor sleep all day Saturday while you guys are filming. So the moment that you're done.
(12:34):
You pass it off to an editor. They can start like an assembly cut so when you're awake in the morning on Sunday, you already have like a pretty decent assembly cut.
That's what I recommended my DP and he was like, nah, like trust me, like I got this I edit to and he just like as soon as we were done shooting Saturday night.
He was just editing. I woke up Sunday morning and he had a really good like a assembly cut done. I was like, you're insane. You're crazy.
(13:02):
Couple of coffee and some red bowls later. He was fine. Seriously. I was so concerned over his sleep.
I don't recommend doing that. I recommend doing the editor thing. But definitely like if you can, don't start editing Sunday morning from scratch because I think that's where like the downfall really happens.
When people don't finish or when people have like bad sound design, it's because they spend a lot of that time Sunday trying to like cut down.
(13:29):
Make sure they get a time limit. What's the time limit for the 40s? Like five minutes, right?
Yeah, like that's a short time guys like and you know we tend to like over right right where like yeah a page is a minute.
It happened with there's something in the water. I was like, okay, this is dialogue heavy. It's seven pages. But you know a page a minute right and then our original cut was like nine minutes.
(13:51):
So we're like, okay, now we got to cut down. So by having that assembly cut ready by like nine a.m. Sunday, we can like cut everything down.
We like and then we can do our sound design. We can do our color grade and all the nice postings that we like to do compared to like starting your edit eight in the morning Sunday.
Now it's like afternoon and you're still trying to cut your film. And then like, okay, your sound design is in grade now. It sounds like trash or the color grade is in what you want it to be.
(14:20):
So yeah, definitely.
Yeah, so definitely recommend having some sort of assembly cut like ready in the morning Sunday morning so that you can spend all Sunday like perfect in the film as much as you can.
I just this weekend participated in a 24 hour playwright festival.
(14:41):
Oh my god.
So I had to come up with a 10 to 15 minute script for that. And of course it's being performed live in front of an audience and everything.
And just hearing your your process about staying up as late as possible the night before actually shooting. I'm like, yep, that's that's what I've been doing this weekend.
(15:03):
Yeah, I mean at the end of the day, like, I told my actors when I met up with them. So I met up with every actor and I got coffee with them and I just kind of talk and I explained what the 48 hour was and I kind of told them like if you're like a main main character, like be prepared for a long day. And like my crew already knew that right.
But that's like the bit, you know, before they are like, that's what we're signing up for this kind of what we're all like committed to.
(15:28):
And the cool thing was like, I told my cast and crew like, you know, we're going to try and we're going to compete. We're going to try and like do well.
So I think in order to do that, like everyone's got to be on the same page. We all got to be committed and knowing that's going to be a long day.
It was a long filming day. I think it might have been like 18 hours.
But you know, that's it's just two days, right? It's just 48 hours we get through it. We know what we signed up for.
(15:52):
So, you know, we're doing 48 just just know that it's going to be long. But you know, it's going to be fun though. It's going to be cool.
I mean, you know, you said you barely slapped, but how is like your food intake and stuff like were you guys able to take care of yourselves?
Yeah, yeah, absolutely. So I think in every short film that I've ever done, my parents have always contributed by doing our catering.
(16:13):
So, yeah, we definitely got, oh, my breakfast might have been nice coffee, but we definitely got really good lunch that my parents provided.
So yeah, that's another important thing. Like feed your crew. Take the time to eat, right? Like don't not eat. That's very important.
At the end of the day, like none of us are getting paid to do this. So that's always like our form of payment, right? It's like feeding your crew well. It's the least that you can do.
(16:39):
So yeah, we had like chicken jaladas and stuff like that.
Yeah, yeah, no, it's only nine in the morning and I want chicken and jaladas now.
I know. Yeah, I think my casting crew, they can't complain in that aspect. So, yeah, feed your crew.
Is there anything like on a technical level you would do differently? I know everything went perfect for you guys.
(17:01):
But like, what would you do differently?
Oh, God, I don't know. I mean, I wish I wish we would have gotten a draft quicker on Friday, just because sleep is important.
I'm the type of person that has to sleep to operate. So that was the challenge in 48 was trying to direct 18 hours straight after no sleep.
(17:23):
But G on a technical level, I mean, like, I don't know. The crew that I had, we kind of worked together for a while now.
Like, we've kind of been making movies for years since film school. So I feel like we're kind of on the same way of playing when it comes to like our process and working together.
On a technical level. G, I mean, I'm trying to think like, just a well oiled machine at this point with your crew.
(17:52):
I like to, I like to think that we are. I think a lot of pride in my crew because they're really, they're really great people, which is the most important thing.
Like, it's always fun to work with people who are just nice and coming with a positive attitude.
Yeah, absolutely saw that in the production of your films, overall quality is amazing.
Thank you. Yeah. No, I mean, God, like when you have such a great crew and you have people who are collaborative and kind of bring their own a game, I feel like directing is like really easy.
(18:20):
Yeah, when you're cinematographer is on point, you're costume designers on point, your production designer, God, my production designer, shadow, her name was Ashley Phoenix Tyson. She was also, you know, the film alum.
She wanted to shadow her out because she was just doing things that I wasn't even thinking about and it would just kind of be there. I was like, oh my God.
In our film, we have a little name plate of our like, Bill and she just did that, like, but didn't even think about it. She just put it there and I was like, how did we get that so quickly in 48 hours?
(18:50):
She was making like logos for the company that you kind of barely see like on the TV during the interview and stuff like that.
So whenever one's kind of, you know, putting in their a game, like directing, it becomes easier for sure.
And it's those little things that make it the whole project just feels so three dimensional because all those things. So yeah, props, props to your designer, your entire, props about everything is so seamless.
(19:15):
Yeah, and that's kind of how we treated. I feel like ever since I did my first 48 hour with you know, V, which was like a little tell no valet thing, like, the goal was kind of always to make a 48 hour scene like it wasn't made in 48 hours, right?
Like we always want to with any short film that we do, we always want to up the production value and make it seem like it was made with like tens of thousands of dollars, even though our budget is like, you know, a bag of cheetos, right?
(19:41):
So yeah, that's so I appreciate you guys saying that and that was that was the goal. You know, we want to make something that everyone was proud of and had high production value and you know that people audiences would enjoy.
I'm really glad that we're talking about kind of the visuals and everything because there was there was one particular shot that I just rewatched it this morning to re familiarize myself because once again, it's my name.
(20:06):
The shot with the glass of water, I think is probably my favorite shot in the whole film because of the fact that you get such a clean crisp image of.
I'm assuming that it was it was a droplet of blood going through the water, right? Yeah, I'm glad I got that.
And then you get a little bit in the background kind of faded out and I just thought that that was such a really cool shot and I'm like, how did you do that with 48 hours?
(20:34):
So definitely very impressive.
Thank you. Yeah, that shot was one of the last things that we filmed.
So everything that happened in the house, that's where we wrapped like a 1 a.m. ish and I remember yeah, it was one of those shots where we were like, this is work, this is big sentence because she's drinking the water and then we like put the drops in and then roll, put the water down and we were like, is that too much blood?
(21:02):
And you know, I think directing is tough when it's when you 12, 13 hours in, yeah, I think at that point we're like 15, 16 hours in and you still have to like answer like small questions like that.
Like they seem silly at the time. Like is it enough blood is not enough blood, but it's supporting, right?
So I appreciate how you like that shot because that was one of those where we're like, does this make sense? Is this adding up the movement they send?
(21:29):
And from like another very visual person when it comes to the scripts that I write absolutely I think that, you know, a little was enough for that shot and it, it definitely it sold the, the whole thing, you know, you're talking about the pollution and that's another thing about about this project of yours is talking about the environment, talking about pollution and everything.
(21:57):
You got a little bit of something about big business in there. I think that, you know, whether or not you meant for it to be a little bit more political stance that whatever message that you were trying to get home with all of these different many themes from where I watched, I thought you did really well on.
Thank you. Yeah, that really means a lot.
(22:18):
Yeah, I want to talk about just like the climate aspect of it because you know every film is assigned a genre in our case, we were assigned to and that was interesting to say, believe it's just because I remember going up to the drawing and we ended up getting climate film or fantasy.
So I think those might have been two genres that I definitely did not want fantasy because there's a lot that goes behind like, you know, the production design, the cost and I'm very much the type that believes like if you get a genre like whatever genre you get, like fully commit to it, you know what I mean, don't do like hints of it, right.
(23:02):
Like people want to see you go all out with that genre because that's like kind of the fun of the 48 right. I think a lot of a lot of people which I don't blame them because like I did this too will fall for under like the comedy route, you know, because you want to make audiences laugh, which is totally okay.
But then what ends up happening is your film is more comedy and less whatever genre it is that you got right.
(23:25):
So when we got fantasy, people were kind of pitching the idea of like having a fantastical element in an ordinary world, which is cool one is a fun idea, but it's just something that I couldn't ever do.
Like if we're going to do fantasy, we're going to like Lord of the Rings that, you know, like full cost and for everyone full character designs for everyone.
(23:46):
And that would have driven my cost and designer and my production designer and my makeup artist absolutely insane. So we're like, okay, maybe not fantasy.
So then we were like, well, what's a climate film? Right? Because like all these other genres have like such like easy conventions that you know and are aware of and we're like, well, what's climate films?
At first, I thought it was like a natural disaster movie, kind of like 2012 or like geostorm something, but when you go on the 48 website, it's like films about climate change environmental degradation and how humans are impacting the year. So it's like, okay, that isn't really necessary.
(24:22):
Like that doesn't have genre conventions in the way that like horror does where you have like jump scares and like fries or like comedy, right?
So I was really nervous when we went like the drama mystery route because I didn't know if it was climate filmy enough. But at the same time, it's like again, you know, what is a climate film, right? Like, I guess it can be, you know, as long as we hit the topic, which I feel like we did, then, you know, we kind of went with it and we were scared at first, but then when we got nominated for best writing, we were like, okay, sigh of relief because I think the judges also think it's climate film enough. So clearly you did something right.
(24:59):
Yeah, exactly. Yeah, we were all freaking out, but you know, it was, it was a tough challenge and coming up with the story was difficult because I don't think anyone thought we were going to get climate film.
But, you know, I luckily my team, which was my DP, my costume designer and my producers, we went over to my house and we were discussing how we can make it work.
(25:21):
And then I had the idea of it being like a conspiracy of this company who was like destroying the planet and then from there, we broke down to something that just made sense here in Vegas. So we're like, okay, water pollution.
And then we just kind of went from there.
The prompts that were given to us was the character was interior designer, Justin or justine snow, which was our main protagonist in the film.
(25:42):
Our prop was a USB and then the line of dialogue was I just got to do it, which is what our protagonist says like at the very end.
So yeah, another piece of advice I'd like to give is like really like go heavy with the with the prompts, you know, don't like throw away the characters super quickly.
Don't use the line and like a way that is insignificant like really trying to find a way to make those prompts like significant parts of your story.
(26:11):
I think the judges will like, though, though like the way that you creatively use those problems, I think it's better if you just kind of go all.
Once again coming from experience from the 24 I just got off of and everything they assigned me drama and they assigned me a prop of toilet paper.
(26:32):
Oh, yeah, figuring out how do I use drama and toilet paper in the same in the same light and everything.
But that's the fun right because like you're being you're being forced to like be creative in ways that you didn't think you could.
So that's the fun of it.
Can you give us a little synopsis Robbie and what your play was about because it was perfect.
(26:53):
Yeah, yeah, so I once again I was I was given the option to just randomly select what it was that I got and I had four options in genre and I had four options.
And props and I just randomly rolled and I got two both times and I'm like, okay, you're going to be doing a drama and you're going to be having the proper toilet paper.
(27:19):
And so I sat there for a good couple hours just going how in the heck do I make those two things come together.
And I decided to say that it was at a funeral of all things and I had the toilet paper prop be something that according to the story one was placed on every single table and so that way.
(27:43):
And you come to find out from the main character later on that they wanted to be there for everyone one last time and so at a funeral and I've been to a handful of them like everyone is crying not everyone has tissues.
So how do we solve that problem toilet paper on every table nice is beautiful. I read the script and I actually could die cried.
(28:05):
That's so cool. How did it go? Was it like a competition or was it just kind of like a like how to go.
It would really well. So so yesterday morning we all got there around 8 a.m. and they would practice for the next 12 hours before putting on the show.
I had no idea who the cast was. I hadn't met the director in person yet and so everyone was meeting essentially for the first time.
(28:32):
And I even had to go and work for a couple hours yesterday. So I was there for the morning where we just kind of talked about the scripts talked about characters building off of everything and getting really know each other.
And then I turned them loose with the director and came back five hours later to see what the finished product was going to look like and just like Lex I cried at my own work.
(28:58):
I thought it was a very amazing experience.
That's awesome. I'm glad it went well.
So I know we've only got a few minutes left. So I have been dying to ask you about one part of your film.
So sorry, I want to go back a little bit. We were talking about like favorite shots for a second there and I wanted to squeeze this in the last shot with that twist where the where the music is building and the CEO it just sat down and that like it all just kind of flips back on your on your protagonist.
(29:28):
I wanted I want to ask like what was the inspiration for that.
I wanted to have that idea for that shot because I thought that that was great that twist working into the story with the cinematography in the sound it all worked so well together and I'm
going to ask you about it again. Thank you. Thank you very much. I think we went back and forth with what kind of ending we wanted we were like okay we have a happy ending we have like a sad ending right and kind of thought about the idea of climate change and we thought about how at the end of the day regardless of your political where you sit in the political spectrum.
(30:01):
So in the class you are like there are no winners in climate change right like we're all losers. We kind of went to the idea of like the media shifting away from climate change and like you know we have climate change deniers and stuff like that in mainstream media.
So we are like okay we're going to go with the sad ending and her looking into the camera wasn't a decision that was made until we were there on set.
(30:27):
She was going to kind of like stay looking straight and it was my producer and longtime collaborator and amazing friend Kiera McKinsey who is also you know the alum I love her to death.
She as we're watching the monitors she was like I think it would be a great idea if she possibly stared into the camera and broke the fourth wall because I mean that's the only time that happens in the film right so it kind of like it shocks the audience a little bit you kind of feel that we were in the theater.
(30:54):
And our protagonist Jackie Lakutis who was so amazing in the movie in such a talented actress and I love her to death. She just did it and pulled it off in a way that I didn't think was way too over the top or too cheesy and it felt very natural to her it felt natural to me.
And when we saw we were like yeah that's I mean that's what we got to do like she has to look right into the camera.
(31:17):
So she nailed it she nailed it. I think it's you know it's really fun because like I mentioned preparing as much as you can beforehand.
But it's always like those happy like on the go things when you're on set were just like you know what just look right into the camera you know and that's what kind of it's a mix of both right.
It's a mix of the preparation and also just like as Adam Paul would like to say you know I think around finding out you know at the end of the day like the 48's.
(31:45):
The most important thing about 48 is that everyone should supposed to be having fun you know like the 48 hour film festival whether it's do you know the last thing is 48 is this perfect opportunity.
That forces you to make something and as we all probably have we all procrastinate right like we're all like we're going to write that script and never do we're going to shoot that short film and then never do it.
(32:08):
48 forces you to write something shoot it and get it out there and I think that's such a wonderful thing so like have fun with it play around you know and just enjoy being on set because it's just a great thing to be on set and it's you know it's a blessing to be with your friends and make cool things.
Yeah well so I know I know we're just about out of time I figured one last question quick easy out.
(32:30):
Do you have any last pieces of advice for anyone that's going to be participating in the you know the 48 coming up next thing they can do or something they shouldn't do maybe sure someone they shouldn't cast.
Oh no yeah cast the you know cast cast if you want and go from there casting everything right.
But yeah it's just you know again prep as much as you can find cool locations find your crew find your cast early don't lay last minute.
(32:58):
Get an edit in so whoever your editor is either sleep all day and edit all night or be there on set and like edit while you guys are filming it's going to help you guys so much seriously and yeah you just have fun you know the moment that you'll be stressed a little big obviously and you'll be a little bit anxiety but the moment that you start not having fun that's where you're losing the plot so you know get with your friends and just have a good time enjoy yourselves and you'll you'll make something cool.
(33:27):
That was awesome thank you so much thank you guys really appreciate time and super enjoyed this conversation but I think that is all we have today right guys yeah that's it but yes thank you thank you again so much and congratulations on the film winning it really was amazing.
Thank you guys yeah are you guys all going to be participating and you know these 48 this year I I will not I will be on the unfortunately.
(33:53):
Oh god I woke that weekend. Oh no okay. That's all right next time then for sure I can't wait to see the 48's that that everyone makes this year though I'm looking for you.
I want to do it again so bad though you're tempting me you're tempting yeah that's just a great time.
Cool alright thank you.
(34:14):
Thank you so much I appreciate so much I enjoy talking with all of you and yeah until next time.
Thank you guys.
And that's it for this week's episode of the film department podcast I've been Matthew Trudeau with Lex D.S. and Robbie Baker special thank you to the Beverly Theatre be sure to check out their program at the Beverly dot com and thank you to our guest Edwin Ramirez we'll see you next class.
(34:37):
Imagine by the Rogers Foundation the Beverly Theatre brings cinematic connectivity novel collaborations live happenings cultural portals and assessed for independent spirits to downtown Las Vegas with emissions a stage uncommon cinematic literary and live experiences the Beverly Theatre is Las Vegas's first and only independent film house storytelling arena and live music venue.
(35:03):
Check out our event calendar at the Beverly Theatre dot com.
The Film Department is supported by UNLV Film.
(00:05):
At the Film Department of the University of Nevada Las Vegas, every story has a beginning.
With degree programs for undergraduates and graduates, state-of-the-art equipment and facilities,
incredible professional internships around the world, and expert guest speakers,
students discover the power and potential of cinema as they prepare for the film and television industry and beyond.
(00:28):
Learn more at unlv.edu/film.
UNLV Film. Find your voice. Tell your story.
Hi and welcome to the Film Department, the official movie review podcast of UNLV Film.
My name is Matthew Chodot and I'm joined by...
Hi, I'm Lex Stasys.
(00:49):
And I'm Robbie Baker.
Yes, and we just had an excellent conversation with Edwin Ramirez. Edwin was the winner of the 2025 Las Vegas 48-hour film project.
For his climate film, there's something in the water.
It was really, really great. Go check him out on YouTube, Instagram, check out his other work.
For all of our UNLV Film students today, we've got our 48-hour film competition coming up October 10th through 12th.
(01:10):
But yeah, let's jump right into it.
Yeah, back quit yesterday.
Wait, what? Why?
You know, honestly, between you and me, he was a long staple.
Little...
Perinoid.
(01:32):
Honestly, I'm surprised it didn't happen sooner.
Just he didn't say anything to you, did he?
No. Nothing of the ordinary.
All right, hi Edwin. I'm Lex and these are Patuco hosts, Mattie and Robbie.
(01:53):
Today, I feel like it's going to be fun episode just because we have our 48-hour also coming up October 10th through 12th.
Yeah, so I was just thinking you can go ahead and start telling us about yourself and then telling us a little bit about your 48-hour experience before we dive in.
And also a little bit about the film that won.
(02:15):
Sure, yeah. First of all, thank you guys for having me. I'm super stoked to be on this podcast.
Wonderful to have you.
My name is Edwin. I recently graduated UNOV Film May of 2024.
And I'm currently working mainly as a production assistant around town. So I work in commercials, film, music videos, conventions, pretty much anything that you can think of I've been doing for the last couple of years.
(02:44):
I'm not PAing. I do lighting and grip. I've been doing some gaffing work, gripping for commercials and stuff like that as well as a little bit of camera.
And I'm inspiring director. I directed short films when I was at UNOV. And I still try and direct when I have the time and the money.
I recently just directed a 48 hour for the Las Vegas 48 hour film festival in which our film, there's something in the water one first place.
(03:13):
So super stoked about that. I did a lot of 40s in the past. I did about 3 48 hours at UNOV Film, which were all great.
And I had a really fun time doing as well as some 48s for like worldwide festivals like the Agbo 48 hour film challenge and stuff like that.
So I have a little bit of experience with 48s. So I'm super excited at the top of you guys about it.
(03:38):
That's awesome. Okay, so for those of those that have never participated or heard of a 48 hour film festival.
I just wanted to let everyone know. So it's a festival where teams have 48 hours to create and produce something entirely from a stretch.
And I will say, Michael is Matthew over here actually has some experience being a part of a 48 hour.
I actually wanted to do it for a bit because I know he's been dying to have that invitation with you. Yeah, awesome.
(04:02):
Yeah, well, I've I've been learning out a little bit. I mean, I haven't done anything as cool as there's something in the water. I really like there's something in the water.
But I really I've been dying to know I wanted to ask about like your preparation phase.
Because I mean, it's only 48 hours, but you seemed very well equipped for what you were doing. So I wanted to ask how you want about getting your locations for shooting equipment together.
(04:28):
Cast crew, like what that process was like before the actual 48 started.
Yeah, 48 hours are are fun just because the more you do them, the more you realize where you have to prepare, right?
Because the first time you do a 48 you kind of go in and you're like that, it's like a movie and have fun and let's win it.
And then as you do more of them, you're like, Oh, okay, this time we should do this and this time we should do that and kind of prepare.
(04:53):
So for 48's, my you kind of just have to probably like any other short film that you're doing, right?
Just because you're only doing in 48 hours, doesn't mean that it isn't the same.
What I like to do before any 48 is always trying to find nice locations beforehand.
So I'll spend maybe like two, three weeks before 48 going around Vegas and just asking like very cool locations or other coffee shops or comic book stores, auto shops,
(05:25):
like, hey, like I explain the situation, I tell them we're making a short film for competition. Is it okay if we can film there and you know, always be nice and always say that you're a student and that you're not production company and there's no money going behind this and there very much likely will allow you to film in their place.
And the reason I do that is a lot of 48's as you'll probably notice that the you know, the one will shoot in apartments or houses because that's, you know, the most accessible place for them, which just nothing wrong with that.
(05:57):
The downfall is that a lot of Vegas houses look the same.
That's kind of yeah, that's the sucky part is that you film inside of Vegas house and you can tell, okay, it's here or even outside of a neighborhood, you're like, okay, that's a Vegas neighborhood.
So I think that kind of lowers the production value of film a little bit when you see like the same kind of house layout.
So I always try and find cool locations before and you can always do that well before and right like just go around if you know friends that work at places like ask them like, hey, can we film your restaurant or film whatever.
(06:29):
And I find that if you're nice about it, you know, people will let you so.
Yeah, there'll be a little more. Locations, yeah, locations is a big one. And then I try and write the story around the location if, you know, if fits, there's some genres that are super specific like Western, you know, like you probably not gonna film Western like cafe or anything like that.
(06:51):
But I'll typically find my locations and then depending on the genre, right around that location.
So for the something in the water, we had a mechanic shop that was available to us. We had the law firm that we shot in because my producer was an assistant to a lawyer and that lawyer was like a film minor.
(07:12):
So he was very down with us shooting at the law firm. And then you know, the green spot in which I got with my sister because she works with rebel media group and she just knew a guy asked very like last second.
And then we were able to shoot the studio. So yeah, locations is super big. I cannot emphasize enough like go out, look for cool spots they find interesting and see if you can shoot them.
(07:37):
Get your cast and get your crew beforehand, also very important. I think like a lot of crews tend to like write the scripts and then kind of be like, all right, let's cut people or let's like see if we can find cast.
Like during the process, don't do that. Just you know, find friends, find actors that want to be in and just write the script around how many actors you have.
(08:01):
That doesn't necessarily mean that every actor has like a huge role, you know.
But definitely find your cast beforehand because it'll just help you when you're writing.
And then my crew, I mean, the crew that I use for the something in the water is pretty much been like the same crew that I would make films with at you and I'll be you know,
(08:22):
there were film students who had all recently graduated or friends from high school that got into film.
One thing that I did that was a little out of my comfort zone, but like highly recommend for everyone is I went to like an open call audition that had was maybe like 60 actors who all just kind of prepared a monologue.
(08:43):
And that's where I met the majority of those actors from there's something in the water.
So a lot of the actors they've seen the film, I hadn't met two weeks prior shooting.
And it just completely, it was just a huge game changer like they were all such incredible people.
They're all nice. They're all so willing to like work with new people.
So definitely go to like mixers, go to auditions, if you know these like holding stuff like that.
(09:09):
Like meet new people who are just really cool because that's very important to you want you always want people with good vibes.
And just bring them on. So yeah cast, cast early, get your crew early.
The more that you have prepped before 48 hours, the better will probably go for you.
So you know, don't be afraid to like over prepare for 48.
(09:31):
Obviously the fun is getting the genre that night and like prepping the story that night and then all the chaos that ensues.
So the better prep that you are with all that, I think the better 48 will turn out.
For sure. Did you did you film overnight?
No, so the way that I like to structure my 48 and again this is just from experience in the past.
(09:54):
So I feel like I kind of got like a good like rhythm to it.
But we get our genres Friday night.
Then I'll spend all Friday night writing script.
And I think the script is probably like one of the most overlooked things, right? Because like for 48 you can get away with like okay cinematography.
(10:17):
You can get away with okay production design because you only have 48 hours, right?
But we can't really get away with is like a bad script regardless of how much time you have.
So I write a first draft and then I go over it with people I trust you're probably in my crew.
And I'm like hey, like look over this. This is make any sense. I think this is this you know easy to follow.
(10:39):
They'll give me a little bit of notes. I'll be okay. I'll play it.
I'll write a very quick second draft. Nothing too crazy. And I know that might sound insane.
Like I'm what do you mean a second draft? Like this is a 48 trust me because like you guys have probably heard that like first drafts for anything are going to be bad.
And that applies for the 48 too. You know, like you again treat it like you would in another short film like rewrite it if you can.
(11:01):
So we rewrote a second draft and then after that I like to do a table read with the actors.
Just so that the actors are kind of like familiar with the lines.
If there's anything that just sounds wrong or sounds ugly, I'll catch it and I'll write it down.
Or and then all of my actors ask if they have any sort of questions with the script or whatnot.
So we did that around midnight on Friday.
(11:25):
From there, my DP and I we shot listed and then we kind of like finished up a draft that we were happy with.
So we didn't get any sleep. I don't recommend that if you can like shot list.
Write your script get a few hours of sleep before shooting my DP and I were just like insane.
(11:46):
How was it you guys get that whole process?
Oh my god. I mean I
from the time that we started writing. I didn't get any sleep until we were done filming and I got maybe like three, four hours of sleep and then went to editing.
My DP was also my editor. He got like no sleep. He could but he was like locked in in a way that I'd never seen my life.
(12:08):
Like he I had recommended and this is something that I think is super important that I like to recommend to people as well when it comes to editing.
You should either do one of two things. You should either you should have an editor on set.
So as you're filming, you can like dump the footage to them so they can start editing while you're still shooting.
Or have an editor sleep all day Saturday while you guys are filming. So the moment that you're done.
(12:34):
You pass it off to an editor. They can start like an assembly cut so when you're awake in the morning on Sunday, you already have like a pretty decent assembly cut.
That's what I recommended my DP and he was like, nah, like trust me, like I got this I edit to and he just like as soon as we were done shooting Saturday night.
He was just editing. I woke up Sunday morning and he had a really good like a assembly cut done. I was like, you're insane. You're crazy.
(13:02):
Couple of coffee and some red bowls later. He was fine. Seriously. I was so concerned over his sleep.
I don't recommend doing that. I recommend doing the editor thing. But definitely like if you can, don't start editing Sunday morning from scratch because I think that's where like the downfall really happens.
When people don't finish or when people have like bad sound design, it's because they spend a lot of that time Sunday trying to like cut down.
(13:29):
Make sure they get a time limit. What's the time limit for the 40s? Like five minutes, right?
Yeah, like that's a short time guys like and you know we tend to like over right right where like yeah a page is a minute.
It happened with there's something in the water. I was like, okay, this is dialogue heavy. It's seven pages. But you know a page a minute right and then our original cut was like nine minutes.
(13:51):
So we're like, okay, now we got to cut down. So by having that assembly cut ready by like nine a.m. Sunday, we can like cut everything down.
We like and then we can do our sound design. We can do our color grade and all the nice postings that we like to do compared to like starting your edit eight in the morning Sunday.
Now it's like afternoon and you're still trying to cut your film. And then like, okay, your sound design is in grade now. It sounds like trash or the color grade is in what you want it to be.
(14:20):
So yeah, definitely.
Yeah, so definitely recommend having some sort of assembly cut like ready in the morning Sunday morning so that you can spend all Sunday like perfect in the film as much as you can.
I just this weekend participated in a 24 hour playwright festival.
(14:41):
Oh my god.
So I had to come up with a 10 to 15 minute script for that. And of course it's being performed live in front of an audience and everything.
And just hearing your your process about staying up as late as possible the night before actually shooting. I'm like, yep, that's that's what I've been doing this weekend.
(15:03):
Yeah, I mean at the end of the day, like, I told my actors when I met up with them. So I met up with every actor and I got coffee with them and I just kind of talk and I explained what the 48 hour was and I kind of told them like if you're like a main main character, like be prepared for a long day. And like my crew already knew that right.
But that's like the bit, you know, before they are like, that's what we're signing up for this kind of what we're all like committed to.
(15:28):
And the cool thing was like, I told my cast and crew like, you know, we're going to try and we're going to compete. We're going to try and like do well.
So I think in order to do that, like everyone's got to be on the same page. We all got to be committed and knowing that's going to be a long day.
It was a long filming day. I think it might have been like 18 hours.
But you know, that's it's just two days, right? It's just 48 hours we get through it. We know what we signed up for.
(15:52):
So, you know, we're doing 48 just just know that it's going to be long. But you know, it's going to be fun though. It's going to be cool.
I mean, you know, you said you barely slapped, but how is like your food intake and stuff like were you guys able to take care of yourselves?
Yeah, yeah, absolutely. So I think in every short film that I've ever done, my parents have always contributed by doing our catering.
(16:13):
So, yeah, we definitely got, oh, my breakfast might have been nice coffee, but we definitely got really good lunch that my parents provided.
So yeah, that's another important thing. Like feed your crew. Take the time to eat, right? Like don't not eat. That's very important.
At the end of the day, like none of us are getting paid to do this. So that's always like our form of payment, right? It's like feeding your crew well. It's the least that you can do.
(16:39):
So yeah, we had like chicken jaladas and stuff like that.
Yeah, yeah, no, it's only nine in the morning and I want chicken and jaladas now.
I know. Yeah, I think my casting crew, they can't complain in that aspect. So, yeah, feed your crew.
Is there anything like on a technical level you would do differently? I know everything went perfect for you guys.
(17:01):
But like, what would you do differently?
Oh, God, I don't know. I mean, I wish I wish we would have gotten a draft quicker on Friday, just because sleep is important.
I'm the type of person that has to sleep to operate. So that was the challenge in 48 was trying to direct 18 hours straight after no sleep.
(17:23):
But G on a technical level, I mean, like, I don't know. The crew that I had, we kind of worked together for a while now.
Like, we've kind of been making movies for years since film school. So I feel like we're kind of on the same way of playing when it comes to like our process and working together.
On a technical level. G, I mean, I'm trying to think like, just a well oiled machine at this point with your crew.
(17:52):
I like to, I like to think that we are. I think a lot of pride in my crew because they're really, they're really great people, which is the most important thing.
Like, it's always fun to work with people who are just nice and coming with a positive attitude.
Yeah, absolutely saw that in the production of your films, overall quality is amazing.
Thank you. Yeah. No, I mean, God, like when you have such a great crew and you have people who are collaborative and kind of bring their own a game, I feel like directing is like really easy.
(18:20):
Yeah, when you're cinematographer is on point, you're costume designers on point, your production designer, God, my production designer, shadow, her name was Ashley Phoenix Tyson. She was also, you know, the film alum.
She wanted to shadow her out because she was just doing things that I wasn't even thinking about and it would just kind of be there. I was like, oh my God.
In our film, we have a little name plate of our like, Bill and she just did that, like, but didn't even think about it. She just put it there and I was like, how did we get that so quickly in 48 hours?
(18:50):
She was making like logos for the company that you kind of barely see like on the TV during the interview and stuff like that.
So whenever one's kind of, you know, putting in their a game, like directing, it becomes easier for sure.
And it's those little things that make it the whole project just feels so three dimensional because all those things. So yeah, props, props to your designer, your entire, props about everything is so seamless.
(19:15):
Yeah, and that's kind of how we treated. I feel like ever since I did my first 48 hour with you know, V, which was like a little tell no valet thing, like, the goal was kind of always to make a 48 hour scene like it wasn't made in 48 hours, right?
Like we always want to with any short film that we do, we always want to up the production value and make it seem like it was made with like tens of thousands of dollars, even though our budget is like, you know, a bag of cheetos, right?
(19:41):
So yeah, that's so I appreciate you guys saying that and that was that was the goal. You know, we want to make something that everyone was proud of and had high production value and you know that people audiences would enjoy.
I'm really glad that we're talking about kind of the visuals and everything because there was there was one particular shot that I just rewatched it this morning to re familiarize myself because once again, it's my name.
(20:06):
The shot with the glass of water, I think is probably my favorite shot in the whole film because of the fact that you get such a clean crisp image of.
I'm assuming that it was it was a droplet of blood going through the water, right? Yeah, I'm glad I got that.
And then you get a little bit in the background kind of faded out and I just thought that that was such a really cool shot and I'm like, how did you do that with 48 hours?
(20:34):
So definitely very impressive.
Thank you. Yeah, that shot was one of the last things that we filmed.
So everything that happened in the house, that's where we wrapped like a 1 a.m. ish and I remember yeah, it was one of those shots where we were like, this is work, this is big sentence because she's drinking the water and then we like put the drops in and then roll, put the water down and we were like, is that too much blood?
(21:02):
And you know, I think directing is tough when it's when you 12, 13 hours in, yeah, I think at that point we're like 15, 16 hours in and you still have to like answer like small questions like that.
Like they seem silly at the time. Like is it enough blood is not enough blood, but it's supporting, right?
So I appreciate how you like that shot because that was one of those where we're like, does this make sense? Is this adding up the movement they send?
(21:29):
And from like another very visual person when it comes to the scripts that I write absolutely I think that, you know, a little was enough for that shot and it, it definitely it sold the, the whole thing, you know, you're talking about the pollution and that's another thing about about this project of yours is talking about the environment, talking about pollution and everything.
(21:57):
You got a little bit of something about big business in there. I think that, you know, whether or not you meant for it to be a little bit more political stance that whatever message that you were trying to get home with all of these different many themes from where I watched, I thought you did really well on.
Thank you. Yeah, that really means a lot.
(22:18):
Yeah, I want to talk about just like the climate aspect of it because you know every film is assigned a genre in our case, we were assigned to and that was interesting to say, believe it's just because I remember going up to the drawing and we ended up getting climate film or fantasy.
So I think those might have been two genres that I definitely did not want fantasy because there's a lot that goes behind like, you know, the production design, the cost and I'm very much the type that believes like if you get a genre like whatever genre you get, like fully commit to it, you know what I mean, don't do like hints of it, right.
(23:02):
Like people want to see you go all out with that genre because that's like kind of the fun of the 48 right. I think a lot of a lot of people which I don't blame them because like I did this too will fall for under like the comedy route, you know, because you want to make audiences laugh, which is totally okay.
But then what ends up happening is your film is more comedy and less whatever genre it is that you got right.
(23:25):
So when we got fantasy, people were kind of pitching the idea of like having a fantastical element in an ordinary world, which is cool one is a fun idea, but it's just something that I couldn't ever do.
Like if we're going to do fantasy, we're going to like Lord of the Rings that, you know, like full cost and for everyone full character designs for everyone.
(23:46):
And that would have driven my cost and designer and my production designer and my makeup artist absolutely insane. So we're like, okay, maybe not fantasy.
So then we were like, well, what's a climate film? Right? Because like all these other genres have like such like easy conventions that you know and are aware of and we're like, well, what's climate films?
At first, I thought it was like a natural disaster movie, kind of like 2012 or like geostorm something, but when you go on the 48 website, it's like films about climate change environmental degradation and how humans are impacting the year. So it's like, okay, that isn't really necessary.
(24:22):
Like that doesn't have genre conventions in the way that like horror does where you have like jump scares and like fries or like comedy, right?
So I was really nervous when we went like the drama mystery route because I didn't know if it was climate filmy enough. But at the same time, it's like again, you know, what is a climate film, right? Like, I guess it can be, you know, as long as we hit the topic, which I feel like we did, then, you know, we kind of went with it and we were scared at first, but then when we got nominated for best writing, we were like, okay, sigh of relief because I think the judges also think it's climate film enough. So clearly you did something right.
(24:59):
Yeah, exactly. Yeah, we were all freaking out, but you know, it was, it was a tough challenge and coming up with the story was difficult because I don't think anyone thought we were going to get climate film.
But, you know, I luckily my team, which was my DP, my costume designer and my producers, we went over to my house and we were discussing how we can make it work.
(25:21):
And then I had the idea of it being like a conspiracy of this company who was like destroying the planet and then from there, we broke down to something that just made sense here in Vegas. So we're like, okay, water pollution.
And then we just kind of went from there.
The prompts that were given to us was the character was interior designer, Justin or justine snow, which was our main protagonist in the film.
(25:42):
Our prop was a USB and then the line of dialogue was I just got to do it, which is what our protagonist says like at the very end.
So yeah, another piece of advice I'd like to give is like really like go heavy with the with the prompts, you know, don't like throw away the characters super quickly.
Don't use the line and like a way that is insignificant like really trying to find a way to make those prompts like significant parts of your story.
(26:11):
I think the judges will like, though, though like the way that you creatively use those problems, I think it's better if you just kind of go all.
Once again coming from experience from the 24 I just got off of and everything they assigned me drama and they assigned me a prop of toilet paper.
(26:32):
Oh, yeah, figuring out how do I use drama and toilet paper in the same in the same light and everything.
But that's the fun right because like you're being you're being forced to like be creative in ways that you didn't think you could.
So that's the fun of it.
Can you give us a little synopsis Robbie and what your play was about because it was perfect.
(26:53):
Yeah, yeah, so I once again I was I was given the option to just randomly select what it was that I got and I had four options in genre and I had four options.
And props and I just randomly rolled and I got two both times and I'm like, okay, you're going to be doing a drama and you're going to be having the proper toilet paper.
(27:19):
And so I sat there for a good couple hours just going how in the heck do I make those two things come together.
And I decided to say that it was at a funeral of all things and I had the toilet paper prop be something that according to the story one was placed on every single table and so that way.
(27:43):
And you come to find out from the main character later on that they wanted to be there for everyone one last time and so at a funeral and I've been to a handful of them like everyone is crying not everyone has tissues.
So how do we solve that problem toilet paper on every table nice is beautiful. I read the script and I actually could die cried.
(28:05):
That's so cool. How did it go? Was it like a competition or was it just kind of like a like how to go.
It would really well. So so yesterday morning we all got there around 8 a.m. and they would practice for the next 12 hours before putting on the show.
I had no idea who the cast was. I hadn't met the director in person yet and so everyone was meeting essentially for the first time.
(28:32):
And I even had to go and work for a couple hours yesterday. So I was there for the morning where we just kind of talked about the scripts talked about characters building off of everything and getting really know each other.
And then I turned them loose with the director and came back five hours later to see what the finished product was going to look like and just like Lex I cried at my own work.
(28:58):
I thought it was a very amazing experience.
That's awesome. I'm glad it went well.
So I know we've only got a few minutes left. So I have been dying to ask you about one part of your film.
So sorry, I want to go back a little bit. We were talking about like favorite shots for a second there and I wanted to squeeze this in the last shot with that twist where the where the music is building and the CEO it just sat down and that like it all just kind of flips back on your on your protagonist.
(29:28):
I wanted I want to ask like what was the inspiration for that.
I wanted to have that idea for that shot because I thought that that was great that twist working into the story with the cinematography in the sound it all worked so well together and I'm
going to ask you about it again. Thank you. Thank you very much. I think we went back and forth with what kind of ending we wanted we were like okay we have a happy ending we have like a sad ending right and kind of thought about the idea of climate change and we thought about how at the end of the day regardless of your political where you sit in the political spectrum.
(30:01):
So in the class you are like there are no winners in climate change right like we're all losers. We kind of went to the idea of like the media shifting away from climate change and like you know we have climate change deniers and stuff like that in mainstream media.
So we are like okay we're going to go with the sad ending and her looking into the camera wasn't a decision that was made until we were there on set.
(30:27):
She was going to kind of like stay looking straight and it was my producer and longtime collaborator and amazing friend Kiera McKinsey who is also you know the alum I love her to death.
She as we're watching the monitors she was like I think it would be a great idea if she possibly stared into the camera and broke the fourth wall because I mean that's the only time that happens in the film right so it kind of like it shocks the audience a little bit you kind of feel that we were in the theater.
(30:54):
And our protagonist Jackie Lakutis who was so amazing in the movie in such a talented actress and I love her to death. She just did it and pulled it off in a way that I didn't think was way too over the top or too cheesy and it felt very natural to her it felt natural to me.
And when we saw we were like yeah that's I mean that's what we got to do like she has to look right into the camera.
(31:17):
So she nailed it she nailed it. I think it's you know it's really fun because like I mentioned preparing as much as you can beforehand.
But it's always like those happy like on the go things when you're on set were just like you know what just look right into the camera you know and that's what kind of it's a mix of both right.
It's a mix of the preparation and also just like as Adam Paul would like to say you know I think around finding out you know at the end of the day like the 48's.
(31:45):
The most important thing about 48 is that everyone should supposed to be having fun you know like the 48 hour film festival whether it's do you know the last thing is 48 is this perfect opportunity.
That forces you to make something and as we all probably have we all procrastinate right like we're all like we're going to write that script and never do we're going to shoot that short film and then never do it.
(32:08):
48 forces you to write something shoot it and get it out there and I think that's such a wonderful thing so like have fun with it play around you know and just enjoy being on set because it's just a great thing to be on set and it's you know it's a blessing to be with your friends and make cool things.
Yeah well so I know I know we're just about out of time I figured one last question quick easy out.
(32:30):
Do you have any last pieces of advice for anyone that's going to be participating in the you know the 48 coming up next thing they can do or something they shouldn't do maybe sure someone they shouldn't cast.
Oh no yeah cast the you know cast cast if you want and go from there casting everything right.
But yeah it's just you know again prep as much as you can find cool locations find your crew find your cast early don't lay last minute.
(32:58):
Get an edit in so whoever your editor is either sleep all day and edit all night or be there on set and like edit while you guys are filming it's going to help you guys so much seriously and yeah you just have fun you know the moment that you'll be stressed a little big obviously and you'll be a little bit anxiety but the moment that you start not having fun that's where you're losing the plot so you know get with your friends and just have a good time enjoy yourselves and you'll you'll make something cool.
(33:27):
That was awesome thank you so much thank you guys really appreciate time and super enjoyed this conversation but I think that is all we have today right guys yeah that's it but yes thank you thank you again so much and congratulations on the film winning it really was amazing.
Thank you guys yeah are you guys all going to be participating and you know these 48 this year I I will not I will be on the unfortunately.
(33:53):
Oh god I woke that weekend. Oh no okay. That's all right next time then for sure I can't wait to see the 48's that that everyone makes this year though I'm looking for you.
I want to do it again so bad though you're tempting me you're tempting yeah that's just a great time.
Cool alright thank you.
(34:14):
Thank you so much I appreciate so much I enjoy talking with all of you and yeah until next time.
Thank you guys.
And that's it for this week's episode of the film department podcast I've been Matthew Trudeau with Lex D.S. and Robbie Baker special thank you to the Beverly Theatre be sure to check out their program at the Beverly dot com and thank you to our guest Edwin Ramirez we'll see you next class.
(34:37):
Imagine by the Rogers Foundation the Beverly Theatre brings cinematic connectivity novel collaborations live happenings cultural portals and assessed for independent spirits to downtown Las Vegas with emissions a stage uncommon cinematic literary and live experiences the Beverly Theatre is Las Vegas's first and only independent film house storytelling arena and live music venue.
(35:03):
Check out our event calendar at the Beverly Theatre dot com.
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