Films are lasting artistic legacies. What do you want yours to say?

Forgiveness is radical empathy.

Describe who you want this film to reach.

In order of importance: 1) identical twins, 2) fraternal twins, 3) everyone else

Tell us an anecdote about casting or working with your actors.

Okay, deep cut time. I initially thought of Dylan O’Brien for Twinless after his scene re-creation from The Social Network, with Sarah Ramos, went viral in 2020. I had most recently adored his performance in the pilot episode of the YouTube series Weird City, cast by my friend Jess. I sent her a note; she loved the idea. Casting against type, or so I presumed. When Dylan and I first met, he dispelled my preconceptions and took complete emotional ownership [of] the character. Looking back now, it always had to be him.

What was your favorite part of making Twinless? Memories from the process?

I loved living in Portland. So many memories. One that comes to mind — our key grip, Bruce, was unavailable for our first few days [of] filming in December because he moonlights as Santa Claus. I was in the middle of a take when fully dressed Santa, straight from the mall, climbed into bed beside me. He asked what I wanted for Christmas this year. It was already happening.

What was a big challenge you faced while making Twinless?

In the last week of prep, Portland got hit by the second-worst snowstorm in its recorded history. We weren’t allowed to be on the roads, and since we didn’t have all of our locations locked, it had a snowball effect — sorry, couldn’t help it — on our entire shooting schedule.

Why does this story need to be told now?

I’ve been wanting to tell this story for a long, long time, so my honest answer is financing. My cheeky answer is: There has been a statistically significant increase in twin births worldwide since the ’80s, so there are also more twins dying now than ever before.

Tell us why and how you got into filmmaking.

Theater was my first kink, television my second. I grew up in a small town in Alaska with one local cinema, so I didn’t really experiment with filmmaking until college. They all scratch my itch to idle in my imagination.

Why is filmmaking important to you? Why is it important to the world?

Sofia Coppola once said directing “is the only time you get to have the world exactly how you want it.” I resonate with that — balancing how it is with how it could be.

If you weren’t a filmmaker, what would you be doing?

Someone recently told me that I answered their questions like a lawyer: Not intentionally evasive, but I leave room for plausible deniability. 

What is something that all filmmakers should keep in mind in order to become better cinematic storytellers?

Kindness is free, and music licenses are expensive.

Who are your creative heroes?

I try not to have heroes anymore.

One thing people don’t know about me is _____.

I cannot whistle.

Which of your personal characteristics contributes most to your success as a storyteller?

Counterintuitively, my decision anxiety.

Tell us about your history with Sundance Institute. When was the first time you engaged with us? Why did you want your film to premiere with us?

My history with Sundance has been exclusively rejections. I applied to the Screenwriters Lab eight years ago with Twinless. I wanted to premiere at Cannes, but I was overruled. (Kidding! Now I’ve caught the whale muahahaha.)

Who was the first person you told when you learned you got into the Sundance Film Festival?

Dylan [O’Brien].

What’s your favorite film that has come from the Sundance Institute or Festival?

Favorite is a strong word, but sex, lies, and videotape was formative.