Please tell us about the projects you worked on before making ‘Entombed’. How did you start, and how did you learn to make films?
Entombed was my 2nd video diary. It started with me naturally filming the world around me, using my camera to capture moments of intense emotion, meaningful colors, and experimental shifts. Much of the film’s creative decisions were to evolve the ongoing narrative from my first journal, IX of Swords. That film was made while performing psychology and biology research, exploring herbalism, experimenting with tarot magic, and coping with a breakup. Naturally, Entombed captured similar tones of sadness since it was filmed during the following months. It encapsulates the melancholia of the cold seasons, introspection, dormancy, metaphysical realizations, and the stinging escapes from it all. By the time I was filming footage for Entombed, I had already published IX of Swords, and because of that, I had many ideas on how to evolve the style of my candid scenes.
IX of Swords was my final project for a digital filmmaking class, where I learned many concepts that I still apply daily. From basic color correction to experimental narrative techniques, I fell in love with the digital format the more familiar I became with it. My earliest roots in filmmaking were in 2013 when I made silly YouTube videos, and my craft has been evolving ever since.
Tell us about ‘Entombed’. How do you describe it?
I would describe Entombed as a witch grimoire. It is an experimental journal where I not only experiment with magick, but directly suggest ideas on what the audience can do if they are curious about exploring the immersive experiences that experimental witchcraft has to offer. It’s a very personal piece that I view as a time capsule for myself. I capture the essence of my daily life, the magical and heartbreaking tones of my world at the time, and the overall energy of seasonal change, all of which complement my character development.
Please tell us about your favorite filmmakers.
The Safdie Brothers are my favorite filmmakers. I am enchanted by the stylistic choices they make and I’m amazed with how experimental their films are. I like movies that are immersive, fast-paced, and unpredictable, all of which the Safie Brothers execute perfectly. My favorite actor is Robert Pattison. His work embodies characters and styles that I deeply resonate with, and I view him as a role model in many ways. So as one might predict, their collaboration on Good Time is my favorite movie.
If you were given a good budget, what would be your ideal project?
Creating more episodes for THE XOMPLEX, a series I have worked on daily for the past seven months. The story unfolds in a cold prison simulation that is infinite in size, governed by an algorithm that endlessly generates mazes of brutalist spaces, darkness, and disease, all of which are untouched by the natural light of the organic realms. It’s created within illegal supercomputers controlled by unregulated scientists, and is a forbidden experiment exploring the nature of humanity.
I currently only have two episodes published, but five episodes are in the stages of early development and filming, with over 40 episode ideas written out. The episodes are not filmed in the order they are written, so having a bigger budget would allow me to execute specific episodes that have been postponed due to the lack of funding. Funding would contribute mostly to bigger crews, better equipment, more thorough set/costume design, and possibly renting out any abandoned or private properties that match the story’s setting.
Describe how you would ensure that production is on schedule. What steps would you take?
I always plan thoroughly, estimating how much time will be needed for each location, and scheduling extra time for experimental shooting that may deviate from the initial project plan. I always have both a screenplay and storyboard when working with larger crews, and this allows me to maximize efficiency when shooting. Importantly, I always make room for other crew members to execute their creative ideas for the project, whether it be changing the acting methods, trying new camera angles, or experimenting with any other elements. Playing with the chaos of filmmaking has been the most meaningful skill I have cultivated over the years, and has played a profound role in why my films feel as authentic and unpredictable as they do.
What was the hardest part of making ‘Entombed’?
The filming phase was simple and enjoyable since it was mostly me documenting the emotional and explorative elements of my life. However, editing was a little difficult at times since creating an emotional flow for this piece would make or break its effect. Most of the film was easy to find a flow for, but there were a few moments where it felt like I was switching between emotions in harsh ways, and I had to find alternatives. For the most part, these moments were fixed either by reorganizing them with other scenes or by sacrificing additional footage and missing out on certain emotional buildups due to the lack of a candid and natural flow into them. All in all, I’m very happy with this project, and while there are a few insignificant details I would change, this is a piece I am very proud of and connected to.
If possible, tell us about your next work. What plans do you have for your future work?
I have written an experimental poetry book on THE XOMPLEX with a publication in early January 2025. I plan to continue writing and filming this series, and I envision it being a massive part of my career, especially in the upcoming years. However, beyond my obsession with computed prisons, I am still developing video diaries, working on other series projects, establishing my alter-egos online, and expanding my crafts of art and magick in general. For more details, I can be reached at mothxrdrone@gmail.com.
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