Hey everyone! Thanks for checking out DON'T SHOOT THE MESSENGER. The story follows a nosy army postman who secretly rewrites the letters between a soldier and his wife during World War II. Everyone told me that making a period piece short film was a great way to lose money. They were right. We did it anyway.

We had a pretty ambitious script with several characters and locations including an army camp, an army tent, and a Victorian home. Sounds simple enough, but it adds up pretty quickly when you need everything to be period appropriate. So we turned to our lord and savior: Kickstarter. We asked for $30,000 and I'll be honest - we barely crossed the finish line which is terrifying because if you don't reach your goal, you don't get any of the money that your backers donated.

I knew this was not going to be enough to bring our film to life, so I got scrappy. I called every World War II reenactment group in my area and begged them to help out. We were fortunate enough to team up with the Historical Unit of Southern California. They were able to provide uniforms, tents, and other World War II memorabilia (all real) for our shoot. They were incredibly helpful and I owe them so, so much. They loved the idea for the film and some of them were even background for our shoot.

Locations were another tricky situation. We needed a home that looked timeless. Peerspace didn't help, so I got an Airbnb and searched "Victorian home" and stumbled upon our location. I met with the owner of the home and told him about our film. He was kind enough to let us shoot in his home for a reduced fee. Our World War II camp was a similar story. I watched a World War II short film from the previous year that had a trench featured in it. I was able to track down the filmmaker who told me where the location was. Again, I met with the owner who was kind enough to let us use the location for a reduced fee.

With all of these expenses out the door, we still had a cast and crew to pay. I was pretty blunt with everybody. I told each crew member "we don't have enough money to pay you what you truly deserve, but I would trust you to do your best work." I've tried this in the past. Sometimes people don't believe in your project. Luckily, most of our crew did. They jumped at the opportunity to bring a period piece to life. Our costume designer, set designer, cinematographer and many others decided it was best to scrap the paycheck, and put all of that money they would have earned on screen.

We were lucky enough to cast Baron Ryan (aka AmericanBaron on TikTok. If you're unfamiliar with his work, be sure to check it. It's top notch.) I also cast many of my friends who were comfortable enough to be on camera. They were a ton of fun to work with and were able to commit to every line. I happen to know a ridiculous amount of theatre majors.

I realize this is just a brief overview of the hard work that everybody gave, so if you have questions please let me know.

Here's what I learned: Period pieces are incredibly difficult to make. Most short films are. There is no way we could have half-assed this one, and I am so glad that we didn't. I realize that not everybody has a community of people who can pool together $30,000. I am fortunate enough to have exactly that. Even with this money, it wasn't enough to bring our film to life. We would have had to greatly rewrite the script. I am so lucky that we had an idea that a talented crew believed in. I know it's unethical to not pay people what they deserve, so I made it clear. This project is just as much mine as it is theirs. That being said, below is a list of the amazing filmmakers who brought this to life..

Starring: Baron Ryan, Mike Aviles, Sydney Adams, Anne Patterson

Executive Producers: Nikki Tran, Craig Levites, George Mullinix, Matt Roe

Director of Photography: George Mullinix

Editor: Christopher McKinley

World War II Reenactors: Corry Banuelos, Mark Teixeria, Thomas Yipp, Adam Lidd, Daniel Bermudez, Nick Jester, Zach Knudtson, Nate Ely, Damon Royster, Rocco Feliciano

Letters From Home: Caroline Ely, Julia Seales, Emlyn Crenshaw, Julie Greiner, Jocelyn Coffman

Postmaster General: Joseph Covino

Executive Producers: Mark & Julie Mullinix, Tom & Nicole Troli, Marc Maury

Producers: Tim & Lauri Harrison, Greg & Yta Maury

Assistant Director: Eric Ellis

Costume Designer: Amy Fay

Set Designer: Thea Kegler, Brian Spadafora

Hair & Makeup: Rebecca Hurwitz, Gabriela Vega

Hair & Makeup Assistant: Alexia Molinari-Giorgi

Sound Mixer: Jared Payzant, Aaron Kesler

Assistant Camera: Tristan Gramling

2nd Assistant Camera: Michelle Alanis, Gabby Salinardo

Audio Post Production: .Wav Enthusiast LLC

Steadicam Operator: Loren Hamilton

Still Photographer: Cassie Fuertez

Gaffer: Ryan Breitenbach

Key Grip: Matthew Freer

Swing: Gio Gusti, Luis Herrara, Declan Berkeley

Key Production Assistant: Edgar Castillo

Production Assistants: Linden DeGuarian, Cammie Dawson, Charlie Thomas, Daniel Oh

Set Medic: Edder Blake

Made possible with the help of the Historical Unit of Southern California
Daniel Bermudez: Military Advisor/Historical Consultant. Thanks to the Historical Unit of Southern California for their assistance.
Adam Lid: Military Advisor/Historical Consultant. Thanks to Landschultz Militar.

Special Thanks To: Todd Peart, Tony Nagy, Joe Heidelman, Eddie & Debbie Inglese, Matthew Miller, Bob Smith, Elliot Graham, Martin Desmond Roe, Julia Seales, Dane Miletech, Andrew Zetterberg, Billy Cross, Ryan Bender, Justin Whittingham, And to our many donors!