When two hit men kidnap Jeff, an aspiring actor whose father put him up as collateral for an unpaid gambling debt, his life depends on the kindness of strangers… who want him dead.
HEADSHOTS is a black comedy that pokes fun at Los Angeles, the film industry, and the notion that when it comes to movies, everyone’s a critic. When two hitmen kidnap an aspiring actor whose father put him up as collateral for an unpaid gambling debt, his life depends on the kindness of strangers… who want him dead.
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As a native New Yorker, I view Los Angeles with a cynical eye, and HEADSHOTS is deeply reflective of my personal experience as an outsider in LA trying to find a balance in the art and commerce of the film industry. I’m a fan of action films, which I feel are not frequently enough represented at major festivals, even though they historically genre films form the cornerstone of American cinema–we like to wrap our personal stories with a melodramatic cloak of kidnappings, explosions, serial killers, and drug cartels. Think of Sidney Lumet’s DOG DAY AFTERNOON, or John McTiernan’s DIE HARD; both deeply personal films involving love, family, gender identity–and hostage situations. However as Hollywood has grown away from an artistic, risk-taking business into a more conglomerated corporate business, genre films have become depersonalized, VFX driven rather than character driven.
I am passionate about creating an action film that is both artistically sound and enjoyable by a diverse audience, much like the RAID films of Gareth Evans, which have played at both Sundance and SXSW.