Horror Psychological Short Pretty as a picture – A young model becomes at the center of a mysterious and demanding photographer

Here is a new horror short film to look at entitled Nice like a photo. The film speaks of “A young model who becomes at the center of a mysterious and demanding photographer who is trying to capture his idea of ​​the perfect image. The model, in turn, must give all of himself to satisfy the photographer and satisfy himself.”

The film comes from the writer and director Ryan NielsenThose who said: “In the end, the theme of the film proved to be differently from many people. I have always seen it as the act of being seen and our desire to be seen”.

“This is true both for the model and for the photographer, one physically seen and the other seen for their work. This is not very different from being a director, in which we all would like to recognize the work we do, but at what cost? The goal is that people could see each other in both main characters.”

He was shared in collaboration with the Film Film Festival, where we are trying to exhibit some of the Radical Indie Radical Pencils and Pancals that the filmmakers are creating.

I also included an interview with the director you can read below!

What was the inspiration for your movie? How did you come the idea?

The inspiration came from an image of a woman posing under flashing lights and an invisible photographer in the distance. From that simple image the real writing of the short time took very little time, perhaps only a couple of days.

Tell us about you. What is your background? How long have you been a director?

I was born and raised in Iowa and spent many of my young people watch movies. I had no inclination of being a director and I didn’t think it was a career that you could pursue seriously until I was in college. It is there that I followed a course in the history of American cinema, especially in order to have a merit of watching movies, and instead I found myself in love with the art of cinema and my obsession with the films was consolidated.

For the longer time, I wanted to become a director but in reality I did nothing. In fact, I rather consider a photo of my first short film, considering the only things I had done in advance were small exercises on college. It took me a bit to have confidence to really do something.

What inspires you to work within gender cinema and tell this type of stories?

What I like about gender cinema is that it allows you to develop feelings and emotions on the extreme and encourages you to be expressionist in your narrative. You can do something personal or not and bury it within the conventions of a genre that people can grasp and, hopefully, come to think later.

What was your favorite part of the film process for this project?

My favorite part of the trial for this short was probably pre-production. My manufacturer, Ari and I, we had a lot of fun putting the team together, designing the appearance of the film and discovering the dice and bolts of how to make a production without hitches. It was such a joy to meet so many talented artists and work with them, and also to give my friends and family roles in the film, whether it is direction or catering.

What are you most proud of this movie?

I am very proud that we actually did it. It is really easy to sit on ideas for a long time and go “yes, maybe we could do it”. But with this film, my producer, Ari and I really rolled the ball immediately and we continually remembered: “We will make this movie”.

What is a favorite story or a moment from the making of the film you would like to share?

This could also be one of my most proud moments, but my boyfriend, Paige, did the whole restaurant for the short alone and it was so surprising to see how many people loved to cook it, with several people who said it was the best lunch they had on the set.

What was your most demanding moment or experience you had while you shoot your movie?

Our set worked quite well, but I would say that our most stressful appearance of the process has been to guarantee funding and understand how insurance works on a movie set.

In this case, how has your film changed or deferred by its original concept during pre-production, production and/or post-production? How did the way you approach future projects as a result?

The film changed a bit during post-production. There were some things that we were not able to do during production and this forced some changes in the mail. Initially the film was more cyclical, the beginning of the film was exactly the same as the end. This has changed along the road and was cut to all fat. As it is now, it is a very simple and linear film, mostly an idea that can go, but had more an arc original.

Who were some of your collaborators and actors of the film? How did you start working with each other?

First I met Ari Wojciech while I was working in a cafeteria. He and I struck him practically immediately and in the end I sent him the script. He assumed the role of production and made me know all the actors including Claire Manning, Garrett Pominville and Mike Danner. Some other collaborators of the film were our Indana Underhill DP, the designer Masha Lyass, our sound recorder and designer Kevin Khor and our make -up artist Wendy Fisher. Other remarkable collaborators are my great friends and deputy director, Carson Aden and Frank D’Argenio.

What is the best advice you have ever received as director and what would you mean to the new filmmakers?

The best advice I received as director is simply starting to make movies. It is the safest way to learn to do it. You can read and look at how much you want, but nothing is comparable to do something.

What are your plans for your career and what do you hope that this film does for this? What kind of stories would you like to tell going on?

My plans for my career would be to continue writing and directing short films and independent characteristics, finally on a large scale and for a certain profit. I would also like to work in commercials and music videos, since I see this as a great way to improve your job. Most of the stories I write and direct for coincidence are not genre films. Many of them revolve around the characters and life in the midwest where I come from. I love being able to take the apparently trivial parts of life and throw them in the head, making them electrifying.

What is your next project and when can we expect to see it?

I am currently writing my next project, so I’m not exactly sure what to do at this moment. All I really can say is that it’s called Bedweter and is perhaps inspired by my youth.

Question bonus n. 1: What is your favorite movie of all time?

Bull

Question bonus n. 2: What is the film that inspired you to become a director and/or had the greatest influence on your work?

The film that inspired me most to become a director was Boogie Nights, but I think the film that had the greatest influence on my work recently was in the bedroom.