1.Hello Finise, we appreciate you providing us with an exclusive interview regarding your project, “Living With Grandma.” Viewing your project has made us very happy. Would you kindly describe your experience working on this project?
Answer: Working on Living with Grandma was one of the most personal and rewarding experiences of my career.The film started with a series of voice notes from my childhood friend Louis, sharing real-life stories about living with his grandmother. I brought in Zach Skiles to help Louis capture those memories, and from there, I began building a narrative that was emotionally grounded and universally relatable. I wanted the
story to feel accessible to all generations—not just one. I also brought on Louisa McDougall to help shape the story into a fully realized script. We had a very small but dedicated team, many of whom I knew from previous work in film and television. During production, we faced challenges with budget, scheduling, and the overall uncertainty in the industry due to the strikes—but we pulled together using creativity, resourcefulness, and community. One of the most magical moments was when we sourced flowers for a funeral scene from another TV
production, literally waiting outside their set for them to wrap. That level of collaboration and generosity really defined this project. It wasn’t just a film—it was a labor of love.
2. You graduated with a degree in filmmaking from Columbia University. Could you tell us about your academic background and whether this is your first project?
Answer: Actually, that’s a common mix-up—Zach Skiles, one of the writers I collaborated with on Living with Grandma, was the one studying at Columbia University, where he focused on screenwriting and film studies. As for me, my path into filmmaking was less traditional. I started in the entertainment industry as a young actor and eventually transitioned into working behind the camera as an Assistant Director. I’m a proud member of both SAG-AFTRA and the Directors Guild of America, and through years of working on sets across film and television, I gained hands-on experience that became my real education. Living with Grandma is my directorial debut, but it certainly doesn’t feel like my first project because I’ve been immersed in this industry for a long time in various roles. That time on set gave me the confidence, skills, and perspective to bring this story to life.
3. Give us more information about yourself and your career path. Here’s a thoughtful and authentic response based on everything you’ve shared:
Answer: My journey in the entertainment industry started as an actor—I’ve been a SAG-AFTRA member since Over time, I found myself drawn more and more to what was happening behind the camera. I began working as a Production Assistant and eventually became a 2nd Assistant Director, joining the Directors Guild of America in 2022. I’ve worked on a wide range of TV shows and films, including Only Murders in the Building and The Gilded Age, where I learned firsthand how sets operate at every level. During the industry strikes, I shifted into production accounting, which gave me a whole new perspective. It taught me how to manage resources, understand financial structures, and truly appreciate the business side of filmmaking. That experience became invaluable when it came time to self-produce Living with Grandma. I’m also passionate about advocacy—I serve on the DGA’s Focus on Women Committee and founded a nonprofit called Reel Solidarity, which supports underrepresented talent in film and TV. All these pieces—creative, logistical, and community-driven—have shaped me into the filmmaker I am
today.
4. Would you mind giving us a sneak peek at some of your next projects in this field?
Answer: Absolutely! I’m currently prepping my next short film titled Desperately Seeking Commitment. It’s a sharp comedy about a woman in her late 30s who is so determined to find love and marriage that she ends up in a mediation room—facing accusations of stalking the man she’s convinced is her soulmate. It plays with the absurdity of modern dating culture, but with heart. We’re aiming to shoot later this year with
another small, collaborative team. I’m also developing Living with Grandma into a full episodic series. The short really felt like the beginning
of something bigger, and I’d love to continue exploring these characters and themes on a deeper level. In addition to my creative projects, I continue to serve as the AD/UPM Elected Category Representative on the DGA’s Focus on Women Committee (2024–2026).
5. What have been some of the most challenging positions you have held in your professional life, and what challenges did you face along the way? Here’s a strong draft pulling from your real experiences:
Answer: One of the most challenging—and eye-opening—roles I took on was working in production accounting during the double strikes. As someone who had been working on set for years as a 2nd AD, shifting to a behind-the-scenes, office-based role was a major adjustment. I missed the creative energy of set life, but it taught me a side of production I hadn’t fully understood before. I learned about fringes, budgets, union
contracts—things that often don’t get talked about when you’re strictly on the creative side. That experience gave me a clearer understanding of what it really takes to make a film sustainable. Another challenge was self-producing Living with Grandma. Wearing multiple hats—director, producer, co-writer—while also managing logistics, casting, and budgeting was intense. But having worked my way through nearly every role in production helped me stay grounded and flexible. The biggest takeaway? You can’t do it alone. Building a trustworthy, collaborative team is everything.
6. What is your opinion of the global entertainment industry as it stands today?
Answer: The global entertainment industry is in a major period of transition. On one hand, it’s more accessible than ever—stories from all over the world are reaching audiences through streaming platforms, and there’s a growing demand for diverse voices and perspectives. That’s a beautiful thing. But we’re also facing serious challenges—especially around sustainability, fair pay, and the protection of creative labor. The recent strikes showed just how fragile the ecosystem is, particularly for below-the-line workers and indie creators. And now with the rise of AI, there’s both opportunity and real concern. While AI can help with efficiency and accessibility in certain areas, it also raises serious questions about authorship, compensation, and the human element that drives storytelling. I believe we need strong ethical frameworks in place to ensure technology supports artists—rather than replaces them. If the industry wants to thrive, it needs to prioritize people and stories with purpose—not just algorithms or profit margins.
7. How is the current state of the film industry in Hollywood, where you are a member of the DGA and hail from? Which movie did you like better, the art house or the commercial?
Answer: Hollywood is evolving fast. As a DGA member working primarily in New York, I’ve seen firsthand how production has both expanded and tightened at the same time. There’s more demand for content than ever, but budgets are being squeezed and crews are being asked to do more with less. It’s a tough time for many working professionals, especially those in support roles who are the backbone of every set. But I
also see real resilience and innovation—from creators finding new ways to tell their stories, to unions pushing for fairer conditions across the board. As for the art house vs. commercial question—I really appreciate both. Art house films speak to my love of character-driven, emotionally layered storytelling, and that’s definitely reflected in my work. But I also recognize the beauty of a well-made commercial film that can reach and move a broad audience. Ideally, I’d like to work in a space where those two worlds meet: stories with heart and craft that also have reach.
8. Do you believe that the movie business is now more reliant on OTT platforms than on theatrical distribution?
Answer: Absolutely—OTT platforms have completely reshaped the industry. Theatrical releases still matter, especially for big tentpole films and prestige dramas, but for independent filmmakers, streaming platforms have become the most viable way to reach audiences. They’ve made it possible for smaller films— like Living with Grandma—to find visibility beyond just festival circuits. That said, there’s a flip side. With so much content flooding these platforms, it can be hard to stand out without major marketing dollars or star power. It’s democratized distribution, but it’s also made the competition fiercer. I think the future lies in finding balance: keeping theaters alive for the shared cinematic experience, while also embracing streaming as a tool to connect with broader, more diverse audiences around the world.
9. What is your opinion on independent filmmakers, and how do they connect or market their films to the right distribution channels?
Answer: Independent filmmakers are some of the most resourceful, passionate people in the industry. We’re often wearing multiple hats—writing, producing, directing, marketing—just to get one story off the ground. I have so much respect for that hustle because I’ve lived it. What makes indie filmmakers stand out is that we’re usually telling stories that come from a personal place, stories that don’t always fit into a formula. As for distribution, it’s a challenge. Unless you have a big festival win or a sales agent, it can feel like a full-time job just to get eyes on your film. But I’ve found that relationships matter more than anything. Reaching out directly, leveraging industry contacts, getting creative with grassroots campaigns, and using platforms like Short of the Week or Vimeo Staff Picks can make a big difference. It’s about strategy, persistence, and keeping your community involved every step of the way.
10. To conclude, once again, many thanks, and what message would you like to share with the next generation regarding your love of guidance?
Answer: Thank you—it means a lot to share this space. If I could give one piece of advice to the next generation, it would be: Be a duck. Let things roll off your back, stay calm on the surface, and keep paddling underneath. This industry will test you—emotionally, financially, creativel—but if you stay grounded and keep showing up, your voice will find its place. Also, stay humble. Life has a way of surprising you—one day you’re up, the next you’re rebuilding from scratch. Don’t take the people around you for granted. Collaborate with kindness, lift others up, and
protect your passion. That’s how you build a lasting career—and a community that grows with you.