A man struggles with reality after becoming dependent on an obscure future device mysteriously delivered to his motel room.

Rabbit’s Foot is just about a man waiting on his luck to change, and instead of doing something for himself, he devotes himself to the first thing that arrives at the door. The arrival of a futuristic head sphere represents the plague of distractions we face like social media, news, phones, tv. Rabbit’s Foot sort of becomes this cautionary tale about the dangers of not relying on yourself to find purpose.

The image of a man sitting on a bed with a large sphere on his head was the first visual that not only started the writing process but set the tone of the film. Mike Dalton (partner in crime/DP ) and I meticulously planned each shot. We knew from the beginning that it was important to feel what Paul was feeling, so we would allow entire scenes to play out and kept coverage to the essentials. I think this allowed our actors, Brock Russel and Larrissa White, to connect with the space and their characters. To feel out the pacing Steve Horne our sound designer created music tracks I would listen to during each take that allowed me to see the film come together on set.

Once the shoot ended I remember second-guessing the decision to shoot minimal coverage. Sam Baiamonte would put those worries to bed. Post is where everything truly came together. Sam brought new and exciting ideas to the film and found ways to use the coverage in unique ways. Steve Horne would transform the visuals with his sound design and music. Andy DeVries (VFX) did things that no one will notice but were essential in the world-building. In the last stage, Brian Singler’s color was the breath of life for the film.

Rabbit’s Foot was a collaborative force, and I hope people can connect to this fever dream of a Sci-Fi