directed and/or produced by

slash

Cade wants a normal life, but his moody step-brother drags him though increasingly violent fantasies as a series of real murders occur. Cade's apathy culminates into a manic party, where Cade must finally face his demons, or die trying.

This movie is curretnly in pre-production. For more information, please visit the IMDB page for Slash: It's a Real Scream, or Fan the movie on Facebook.

For more updated information and more links, please visit the Slash page.

auto care

As the world ends around them, a small group of survivors gather in a last ditch effort to save themselves, if not humanity...

Auto Care was filmed in October of 2009 in Farmington, New Mexico for the National Film Callenge. Longtime filmmakers and friends concieved, wrote, shot, edited and scored the movie in 72 hours. The resulting film won the group Best Use of Prop (Flask) and Best Use of Character (Done Richards, Mechanic).

new blood (trailer)

George Thomas, Jeremy Orr, Thomas La Rue and I collaborated as co-writers/-directors/-producers/-actors near the turn of the century on New Blood, originally intended to be a vampire-themed anthology, though Jeremy managed to add a more narrative structure as shooting progressed over 2 years. It was acted and crewed by Chriss Anglin, John Lard, Merritt Glover, Jason Michael Chandler, Steve Braswell and a number of others, and was shot primarily on digital 8mm with almost no budget.

There's (at least) a rough cut of New Blood mucking around somewhere in the world, though all I have is this teaser trailer.

winning ticket

A petty thief bent on murder finds more than he bargained for when he breaks into a lottery winner’s home.

Winning Ticket was originally conceived to be one part of a five segment anthology titled New Blood. Over the two years it took us (me, Jeremy Orr, George Thomas & Thomas La Rue acting as co-writers/-directors/-producers/-actors plus Chriss Anglin, John Lard and others) to shoot NB, it evolved into a more structured narrative, thought WT remained intact through the film. (Think we had a better sound mix a one point, though it seems to be lost to time--sorry!)

déjà vu

After a bathroom mishap, Willie Ackerman discovers he’s in Heaven.  Again.

Déjà vu wasn't meant to be a special effects film. Willie was supposed to arrive into a great, vast blackness, but our camera picked up much more of the background than we expected in such low light. Then cinemaphotographer and editor George Thomas said, "You know, Rycke, I've got some new software I've been wanting to play with..."

I believe it took poor George 6-9 months to complete the f/x for Heaven, as much of the sequence was handheld, and of course we hadn't used any sort of background reference markers, going in with such a different vision.  But all in all, he didn't do too bad.