"When I started prepping my latest film, Mooch - a 91-minute noir comedy (very) loosely based on my own experience as an emo-kid-turned-golf-caddy - I knew the biggest challenge wasn't just making the film. It was making it while juggling multiple roles: director, actor, editor, sometimes producer. I needed a way to keep the whole machine moving, without being chained to constant walkthroughs, verbal briefs, or scattered notes."
"At first, I approached previs as a kind of sandbox. I used it to build rough versions of our main locations - starting with the country club that anchors Mooch's story - and just played around with blocking, movement, and space. I wasn't trying to replicate a finished shot list. I was trying to find the rhythm of each scene. The goal wasn't perfection - it was alignment."
A director who also acts, edits, and sometimes produces prepared a 91-minute noir comedy, Mooch, by relying on previsualization to manage multiple responsibilities and maintain momentum. Previsualization served as a sandbox to construct rough versions of main locations, experiment with blocking, movement, and space, and discover each scene's rhythm rather than create a finished shot list. Sharing previs with the director of photography, Kenneth Wales, enabled synchronized planning and early alignment. That preparatory approach reduced guesswork on set, built trust in the crew and plan, and ensured smoother execution when the director stepped into acting roles.
Read at Creative Bloq
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