Creating Films for Personal Fulfillment: The Story Behind “Hippo”

During the challenging times of the COVID pandemic, Kimball Farley and I embarked on a creative vistas via Zoom calls from opposite coasts, designing with skill the screenplay for “Hippo.” This monochromatic, tragicomic film was born from a want to create something deeply personal and reflective of our own distinctive experiences and childhood traumas.

The first half of those guidelines are hard enough to follow. We tried our hand twice at this before writing Hippo, but we wound up with screenplays that were financially and logistically out of reach for the Duplass Brothers’ ‘make what you can make’ credo which we both subscribed to fiercely.

But the third time was a charm (as they say). Kimball and I got to work late nights under the glowing moonlight of our MacBooks, like millennial Beethovens, and finally churned out our version of a Sonata: an ultra-low-budget chamber piece written for the one place I knew I would not need a permit for—my grandma’s humble house in State College, PN.

Kimball with the finished script which he added some creative annotations toPhoto by Mark H. Rapaport

I have no recollection of the specifics of writing it. Not because I was drunk or anything like that. It was simply a euphoric experience. We wrote what we wanted to see on screen but never have—scenes and characters we not only enjoyed but fantasized about bringing to life. All I remember is leaving our weird hearts on that keyboard. We did not describe the film. We did not make notecards. We did not ask ChatGPT for help, nor did we consult the trades for what loglines were hot sellers at AFM, Berlin, or Cannes. We just wrote and wrote, and revised and revised, until we were happy with it.

The Directing Principles of Our Creative Process

Our approach was simple yet ambitious: make a film with the resources at hand, involving actors we knew, within accessible locations, and with the budget we could muster. The aim was to create a piece that was an genuine articulation of our tastes, unbound by conventional video marketing norms.

We had previously attempted this twice, but our scripts were beyond our means, both financially and logistically. However, the third attempt proved successful. Under the glow of our laptops, we finally crafted a script set in my grandmother‘s house in State College, PA, where permits were unnecessary.

The Euphoric Experience of Writing

Writing “Hippo” was a surreal experience. We didn’t follow a structured describe or seek external validation. Instead, we wrote scenes and characters that resonated with us, without adhering to trends we found or popular loglines. It was a process of pure creativity and passion.

“We wrote what we wanted to see on screen but never have—scenes and characters we not only enjoyed but fantasized about bringing to life.”

Filming “Hippo”: A Return to Childhood Joy

The production of “Hippo” was a joyful endeavor, reminiscent of childhood play. The passion and dedication of our cast and crew transformed the script into a living, breathing film. The experience was more akin to building sandcastles with friends than traditional filmmaking.

we set out to make something that felt completely distinctive to our tastes and as a viewer we would love every second of.

We embraced a collaborative spirit, welcoming all creative suggestions, whether it was constructing a moat or demolishing an unnecessary tower. This openness fostered a dynamic and inclusive environment.

Defying Conventional Hollywood Norms

In Hollywood, there’s a tendency to serve what producers and studios want, often sticking to tried-and-true genres and archetypes. But, we consciously chose to diverge from these norms, embracing the offbeat and unconventional nature of “Hippo.”

“If the ‘center’ is what Hippo has strayed from, Let's stay as far away from the center as humanly possible.”

Embracing Self-Reliance and Distinctive Perspectives

“Hippo” reinforces the idea that anyone can be a filmmaker with the right tools and mindset. It also emphasizes real meaning from self-reliance and trusting one’s instincts. Our distinctive perspectives are not just useful; they are the heart of the film itself.

When something works, whether it’s a scripted line or an improvised moment, it echoes deeply deeply. As filmmakers, we are our own best audience, and creating for oneself can lead to the most genuine and fulfilling experiences.

Finding Your Audience

Creating films for oneself does not prevent reaching a broader audience. Instead, it allows the work to naturally find its audience. Trusting in the creative process and giving it your all can lead to unexpected connections and shared experiences.

“There are plenty of others who are just as weird as you are.”

Connecting with Like-Minded Creatives

We were fortunate to find kindred spirits at Rough House Pictures, a Charleston-based company known for its unique creations. David Gordon Green, one of the founders, embraced “Hippo,” leading Rough House to join as Executive Producers.

This combined endeavor was a proof to the film’s appeal and the shared human experience that rises above conventional boundaries.

Welcoming Audiences to the World of “Hippo”

“Hippo” has already found its audience through festivals, and we hope to reach even more people with its public release. The film’s reception has been heartwarming, with many viewers finding joy and connection in its story.

“Come one, come all. Bring your friends, or bring your mother—who knows, she might just help you produce your next film, like mine did.”

Create for Yourself, the ‘Misfit’

In the end, making films for oneself can lead to the most rewarding and surprising outcomes. Accept your distinctive voice and trust that your work will find its audience. You might be amazed at how many others share your view.