We recently had the chance to sit down with Josh and Victor from MindInMotion, an independent production company rooted in Baltimore. From their early days as film students to their experiences juggling micro-budget projects and client work, the duo shared valuable insights into how creative partnerships thrive, and how limitations can spark innovative filmmaking.

1. How did your shared passion for filmmaking develop, and what have been the key factors in maintaining a strong creative partnership?

We met in a 16mm filmmaking class at Johns Hopkins University. We’d had enough theory and wanted to make more films - so we started working together on projects outside of school. While still in college we founded our production company 

, and after graduating we turned it into our full time career. In terms of maintaining the partnership, I think some conflict is important. We often agree but when we don’t there’s often something to be learned and a better creative output to come from it. Learning how to challenge one another constructively has been vital across the five feature films we’ve made together.

2. What was the biggest lesson you learned from your first micro-budget project?

One of the biggest lessons was adaptability. Something always goes wrong during a shoot, regardless of the budget. On a micro-budget, you can’t just throw money at problems, so you have to improvise. It could be the weather, a sprained ankle, or losing light. Sometimes you rewrite the scene on the spot. Often, these changes lead to something more exciting than the original plan.

3. Your films are grounded in naturalistic storytelling. Can you share a personal story that shaped this creative voice?

 I think a lot of it has come from working within limitations. Working with real locations rather than sets, with limited resources to change them much, utilizing natural light because there isn't the budget for a big grip and electric team to completely change what the sun is doing. And then casting actors who look less Hollywood and more like regular people. And sometimes working with non-actors as well. I think aesthetically we gravitate towards a more naturalistic aesthetic and are always looking for ways to remove the artifice of the filmmaking process from the final product and help a viewer disappear into a world. And that’s something we’re always striving to do better.

4. How do you balance the artistic freedom of independent filmmaking with the structured demands of client-driven work?

We’ve always split our time between client work, which supports us financially, and our independent filmmaking, which fulfills us creatively. The two actually complement each other well. Our experiences in independent filmmaking help us bring a creative edge to client work and have made us much better at problem solving and improvisation, while the discipline and efficiency of corporate and commercial projects have improved our narrative filmmaking workflow. We also meet creative people in each area that we often carry over with us into the other. Finally, it’s easier to make a film when you already own most of the equipment to do so from your day job.

5. What unexpected challenges have you faced as a production company, and how did you overcome them?

One of the biggest challenges was learning how to put ourselves out there and become a trusted resource for clients. As naturally shy people, building those relationships took time and effort. On the filmmaking side, working with tight budgets has always been tricky—everything from casting to securing locations can be a challenge. Surprises inevitably arise, but staying flexible and resourceful helps us overcome them.

6. How has being based in Baltimore shaped your filmmaking and distribution strategy?

Baltimore has a tight-knit filmmaking community that’s incredibly supportive. People are open to sharing resources like locations, which you might not find in larger industry hubs. Being here has taught us to work resourcefully, and with digital distribution, a great project can now reach audiences no matter where you’re based.

The Farmhouse is a proof-of-concept short for a feature film we’re developing. We created it to immerse potential audiences and investors in the world of the story. It’s more dynamic than a traditional pitch deck, allowing us to showcase the tone and vision of the larger project. We’re still looking for a way to get it made - it’s been a project we’ve been dreaming about and working on for years.

8. What tips do you have for achieving high-quality horror effects on a limited budget?

The internet is an invaluable resource for learning horror effects, and reaching out to artistically talented friends or collaborators is key. We’ve been fortunate to work with people who have a deep passion for practical effects, and it’s about finding the right people who are as excited about the project as you are.

9. How do you turn the constraints of micro-budget filmmaking into creative opportunities?

Constraints often lead to unexpected breakthroughs. For example, while making Lotus Eyes, we didn’t have the budget to build dystopian sets. Instead, we road-tripped around Maryland, Pennsylvania, and West Virginia, finding incredible abandoned locations that added an authenticity no set could replicate.

10.  What strategies have worked for you when pitching micro-budget projects to investors?

Building personal relationships and being as open and transparent as possible has been key. We want investors to trust us, so we ensure they understand the risks and our plans. Keeping the process an open book builds confidence and trust.

11. How did you secure distribution for your feature films?

We worked with a sales agent introduced to us by one of our producers. The agent pitched the films to distributors, which led to their release on major VOD platforms.

12. How do you decide which festivals to target, and what advice do you have for filmmakers?

We’ve found genre-focused festivals to be particularly rewarding. They connect you with audiences who are genuinely excited about your work and like-minded creators who can become long-term collaborators.

13. What distribution mistakes have turned into valuable lessons?

One major lesson was understanding the difference between aggregators and distributors. Saving a substantial budget for marketing is also critical—without it, even a great film can struggle to find an audience.

14. If budget and access were no issue, who or what would you love to collaborate with, and why?

Josh and I both have a number of dream projects. Josh and his wife Abby wrote a musical we want to make when budget and connections allows. Josh’s favorite musical is Ragtime and we’ve talked about how to adapt that for a long time. I’d love to adapt Cormac McCarthy’s Blood Meridian and make a proper science fiction film. Maybe that can be a musical too, who knows. In general we’d just love to keep making films, regardless of the budgets.

15. What upcoming projects are you working on?

We’re currently developing Asylum, a micro-budget horror feature. It’s a home invasion thriller set during a global pandemic, and we plan to begin shooting in April.

Behind the Lens with MindInMotion: Crafting Stories Through Limitations

Some filmmakers are driven by ambition, others by sheer passion. For Damarrus Grant, it’s both—with a whole lot of resilience sprinkled in. Hailing from Sacramento, California, and now based in Los Angeles, Damarrus’ journey into filmmaking reads like a story of relentless determination, marked by personal hurdles, creative triumphs, and a do-it-yourself ethos that has become his signature.

What started as a bold idea filmed inside his own apartment has blossomed into Diane, a horror-thriller with a clever blaxploitation twist. The film is already making waves, winning awards across the festival circuit and earning its place on major streaming platforms like Amazon Prime, Tubi, and soon Apple TV. But behind the success lies a remarkable story of grit, faith, and the unshakeable belief that no obstacle—whether financial woes, medical battles, or even a car accident—could stand in the way of a dream.

In this exclusive interview, we dive deep into the mind of 

, one of NolanAI’s talented community members. We explore the highs and lows of making Diane, his creative process, and what’s next on the horizon for this independent filmmaker on the rise.



You started your filmmaking journey with short films. How did that experience shape your approach to directing 

, and what were the most significant differences between creating a short versus a feature-length film?

Short films give you the confidence—and sometimes the delusion—that making a feature film is possible. Over the years, I’ve had the chance to create many short films, usually about 5-10 minutes long. I thought, if I can make 7-10 short films, each around 10 minutes, then I can piece together a feature. I just need to hit 70-90 minutes, and I’ve done it. This is a common theory among indie filmmakers, but the reality of execution is another story. The time, attention to detail, and effort it takes to make something that long, cohesive, and entertaining is the real challenge.

Money, time, and resources play a major role as well. A short film is like a sprint—a 100-yard dash—while a feature film is more like a cross-country marathon. When you commit to making a feature as an indie filmmaker, it’s like becoming an architect tasked with building a house using just a hammer and a few nails.

Filming in your own apartment for two years is quite the adventure! What were some unexpected moments or surprising discoveries you encountered while transforming your personal space into a film set?

Transforming your personal space can be a lot of fun. You can decorate the walls, rearrange the furniture—or even cover everything in blood, (I loved doing this!)! But, of course, when the day’s filming wraps, the mess you’ve created is the mess you have to clean. While shooting in my loft, I quickly realized that having large windows was both a blessing and a curse. On the plus side, I could take advantage of natural light, and knowing the best times of day to shoot made for some striking cinematography. On the downside, my windows faced Los Angeles Street—a busy street right at the edge of Skid Row. Let’s just say, when you’re trying to capture clean audio, the constant noise of the city makes it a real challenge. I also discovered that my apartment became the unofficial trailer for the entire cast and crew. While I was downstairs in the basement shooting with actors, the rest of the team would be in my space—eating, laughing, lounging, sleeping, and prepping for their scenes.

Diane blends horror, thriller, and a touch of blaxploitation. Can you tell us what inspired this unique mix of genres and how you approached balancing tension and style?

, and I’m also a huge fan of 70s cinema. Originally, the script for Diane didn’t include any blaxploitation elements—it was purely a thriller/horror. That was my intention from the start. I wanted to make a horror film with a sense of class. But as shooting progressed and actors became unavailable, my ADHD kicked in, and I started experimenting with new ideas that involved the supporting cast—ideas that would keep things exciting while still serving the story.

One night, I had a dream where my siblings were wearing 70s attire, and in true 

 fashion, I tried to translate that dream into scenes. I began writing sequences that would bring some comic relief to the film. I didn’t want the project to take itself too seriously. With practically no budget, this needed to be fun. In the end, I feel like I created something that’s like a Picasso painting—original and unique.

You faced immense challenges during the making of Diane, from heart surgery to near eviction. What drove you to keep going despite these obstacles, and how did these experiences influence the final cut of the film?

The fear of failure drove me. I had actors who were taking time off work, spending their own money on rental cars and hotels, and suddenly, finishing the film became bigger than just me. Their purpose became tied to mine. How could I let these people go out of their way for me and not deliver a finished product? Many of them had already experienced the frustration of working with filmmakers who never completed anything, and I didn’t want to be another disappointment—a counterfeit or an imposter. I had failed so much back home. Humiliation and failure had driven me before, and it was part of why I moved to L.A., to escape the shame of my past failures. But this time, I refused to fail. My surgery and eviction notices provided months of setbacks. There were significant periods of time where I could literally do nothing. It takes time to recover from heart surgery, and eviction notices caused me to believe that my film was not worth jeopardizing my livelihood. Ultimately, setbacks frustrate and refuel you. I became more desperate knowing that I was losing time without progression toward my project. There were grumblings and murmurs from the cast and crew about my competence as a filmmaker. People began questioning more. Cast and crew began arguing with me on set. People began to jump ship. People began to quit and separate themselves from me. I hated it. I resented it with my whole being. It essentially set fire to my feet.

You took on so many roles—director, writer, actor, producer, even editor. How did wearing multiple hats affect your creative process? Did it bring you closer to the film, or was it more of a juggling act?

Wearing multiple hats is essential for an independent filmmaker. Whatever job you ask someone to do, you need to be competent and ready to fill that role if they become unavailable. The upside is that wearing multiple hats means the success or failure of the entire film rests squarely on your shoulders. If the ship sinks, it’s because you sank it. If it floats, it’s because you built it well enough to stay afloat. Wearing multiple hats also brings you closer to the film—it forces you to become one with it. For example, I know who shot EVERY frame; I know EVERY line of dialogue, and I remember how long it took to edit specific sequences. I edited EVERY scene without looking at the script because I had become one with the work.

Everything falls on me. When everyone else goes home at the end of the day, I’m the one left to edit. I have to clean; I have to review the footage; I have to decide if a scene is missing something; I have to schedule the reshoots; I have to decide if a scene is going to be cut and deal with an upset actor for wasting their time. I had to become obsessed to get the job done. I had to ask myself, “Am I a filmmaker, or just someone who wants to make a film?”. This is not to dismiss the contributions of the crew that worked on the film. This was definitely a team effort, but I didn't not have a consistent crew. Some of the actors had to become crew when the crew didn't show up.

The film's score was composed by the talented 

, along with your own music contributions. How did the collaboration come about, and what role do you think sound and music play in creating the atmosphere of the film?

I was introduced to Stefano Tomaselli through my friend and lead actress, 

. While she was getting her makeup done, I showed her some of the film, and she loved it. However, she noticed that I was using music for which we didn’t have a license. Having already bent the rules to film as much as I had, I didn’t think much of the music licensing issue. Lucia insisted, “No, Damarrus. We need a composer and original music. I have a friend.” That friend was Stefano.

We met for lunch and had a great conversation that blossomed into a friendship and mentorship. We collaborated on the film for almost nine months, during which Stefano became our composer, crafting a beautiful score that perfectly complemented the film. He also handled our post-production and sound engineering. The role of sound and music in creating atmosphere is essential; I believe they are just as important as the visuals on screen. Stefano understood this and ensured we had something original. He would share the music sheets he created for Diane along with the different sequences, demonstrating his unique understanding of how a scene should be scored. I felt like I was in both film and music school during our discussions.

Lastly, I also have a song that I sang, co-produced, and co-wrote featured at the end of the film called, “Keep It On The Low”. It was a collaborative effort with friends who were also part of the film. The song was originally written by my friend, Victor Hernandez (a producer and actor on the film), during the first year of shooting. We found a music sample, and he began writing to it, convincing me that this could be part of the film.

A year and a half later, we sent the track to my friend 

, who added significant production to it, transforming the beat into something new. After the beat was finalized, I re-recorded and rewrote verses that complemented what Victor had already created, but the foundation remained the same. It was then mixed by a top engineer in Sacramento, CA, Qmadethebeat, and I incorporated the song into the film’s end credits. I’m very proud of it!

Diane has won over nine awards on the festival circuit, a remarkable achievement for a debut feature. What was your reaction when you started getting this recognition, and how has it impacted your career trajectory?

It all started when Diane won four awards at the Film Fest at LA Live Festival. We took home Best Narrative Feature Film, Best Actress, Best Writer, and Best Director. It didn’t feel real because, honestly, I was just excited to have been accepted into one festival so the cast could have a screening. But by the grace of God, the recognition kept coming. I would wake up to emails about our film being honored, and I’d send screenshots to the cast and crew in our Instagram group chat, saying things like, “What the heck is going on?” I couldn’t believe we were being acknowledged for anything. Not that we weren’t worthy or deserving, I just had no expectations.

I had made so many short films in Sacramento and never won anything. This felt like a full-circle moment. I’ve always told my friends, “The awards are nice, but you can’t cash them!” However, they did help generate buzz and momentum around our project. Plus, when you submit your film independently for distribution, the awards add credibility, making it more likely to be picked up by major platforms. I didn’t know this from experience at the time, but based on what I’d been told—and sure enough, our film was licensed by the channels we had hoped for!

With many friends and family involved in the production, how did this community-driven aspect shape the film’s creation? What was it like seeing your loved ones help bring your vision to life?

I felt a deep sense of pride knowing we had made a true home movie. Scorsese says in his MasterClass, "Your first films will be like home movies." And that’s exactly what we created. My mom and twin sister were producers, my friends were producers and actors. My aunts let me use their locations, and friends offered up hotels they were staying at that we filmed in. I took great pride in casting friends I had known for years. I had always said, "The first film I make, I’ll make it with friends," and I kept my word. I have also developed personal friendships with many of the cast and crew.

Anyone who wanted to get involved, I made an effort to incorporate them. I don't think I ever told anyone “no” if they wanted to be part of it because I needed all the help I could get. At worst, we’d shoot a scene, and if it didn’t make the final cut, I would let them know we tried. A scripture I love is "Write the vision and make it plain, so that he who sees it may run with it." I shared my vision with my friends, and they understood the assignment. Those who wanted to be a part of it ran with it!

The enthusiasm and inspiration I got from the cast fueled me. I fed off their energy. Some friends were more than willing to wait all day just to shoot their scenes at 3 a.m., and ironically, some of those scenes turned out to be the best!

Looking back on your early days writing short stories and screenplays at 16, how do you feel your storytelling has evolved since then? What themes or ideas do you find yourself constantly drawn to?

Now, the stories I’m writing feel more complete. In screenwriting, I’ve learned techniques that help me achieve results faster. For example, 

 taught me that “dialogue should either reveal something about the character or move the story forward”. David Lynch suggests creating 70 scenes on index cards, which gives you enough to structure a full length movie. Aaron Sorkin emphasizes that a screenwriter should focus on "intention and obstacle". Also, I’m passionate about being the author of my own films. I don't just want to be a director, but I want to be an auteur. I grew up with the understanding that serious directors write.

I also read a lot of award-winning screenplays. Before writing my own, I’ll dive into a script that explores similar themes or topics to what I’m about to write. It serves as a template and keeps me sharp. Lately, I’ve been writing scripts that tackle subjects like mental illness and AI, and while I enjoy coming up with high-concept film ideas, my heart still loves character-driven stories. My hope is to write and make high concept films with memorable characters. I get a lot of inspiration from stories from the Bible. Concepts from biblical stories that I haven't seen in films have been making their way into my stories.

Now that Diane has successfully premiered on platforms like Amazon Prime, Tubi, and soon Apple TV, what are you working on next? Can you give us a sneak peek into any upcoming projects or films in development?

Yes, I have a few scripts in development right now. Over the summer, I did some writing exercises to stay sharp and ended up writing several short scripts, including one inspired by the life of 

. After reading his biography, I wrote a short script about the wild times he shared with his close friend, 

. I hope to expand on that project in the future. 

As for my current work, I’m developing a thriller centered around mental illness and an epic, polarizing film about AI. While writing the AI script, I’ve caught myself thinking, “This one might get me canceled”—which only makes me more determined to make it! Maybe the good folks at NolanAI won't be too scared to take a peek once the script is done! Haha!

A Journey from Passion to Production: Independent Filmmaker Damarrus Grant’s Unstoppable Rise with “Diane”

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A Journey from Passion to Production: Independent Filmmaker Damarrus Grant’s Unstoppable Rise with “Diane”

Behind the Lens with MindInMotion: Crafting Stories Through Limitations