Table of Contents
Three Key Takeaways
- Brian Lederman channels personal urban anxieties into a surreal, genre-blending commentary on daily frustrations.
- The film’s ambitious, car-bound production demanded innovative technical solutions and intense overnight shoots.
- Crowded Out pushes genre boundaries by mixing humor, discomfort, and arthouse sensibilities in a short format.
Brooklyn-based filmmaker Brian Lederman returns with Crowded Out, a micro-budget short selected for the prestigious FilmQuest 2025 festival. The film stars Patrick Voss Davis and Andy McCain, supported by a talented crew including co-producer Grant Herson and director of photography Charlie DesJardin. Known for his previous festival successes like Pushover, Brian infuses this new project with his trademark blend of humor and unease, exploring the maddening search for parking in Bay Ridge.
What drew you to make Crowded Out? Why this story, and why now?
Parking in Brooklyn, specifically Bay Ridge, is a surreal nightmare and something I had to do for years coming back from work in Sunset Park. The movie is inspired by my near-nervous breakdowns after an occasional 2 hour search for a spot. This premise led me down different avenues (pun intended) regarding our demons and anxieties and how much power we choose to give them in our day-to-day lives.
What surprised you most about the filmmaking process this time—creatively or logistically? Was there a moment on set or in post that completely changed how you saw the story?
"I thought shooting a 9 minute, micro-budget short that takes place solely in an actual, driving car would be easy for some reason. The joke's on me."
I've never had to deal with logistics like this before. From car mounts, to tow-hitch weight capacities, DIY process trailers, and wireless error-prone A/V setups, we packed what was originally a twelve page script into three, intense overnight shooting days. It was insane, and I'm amazed we even pulled it off.
Is there a moment in the film that feels the most you—something only you could have made?
Probably the moment when what has now become two hitchhikers are simultaneously berating Owen over every possible detail they glean from objects in his car.
What was the hardest creative decision you made while making this film?
We had to nix the original ending SFX and reshoot it. It just wasn't working. I enjoyed working with the original SFX artist and feel bad that I couldn't include their work in the film.
What do you hope audiences take away from your film?
I hope they laugh. I hope they're made uncomfortable. I hope they see what I'm trying to say and can relate on a visceral level. The movie's a warning.
How has this film shaped or shifted the kind of stories you want to tell next?
I'm not doing anything else in a car unless I have financial backing from Warner Brothers. Seriously though, I'd like to start a little more grounded and eventually take it to a 10 instead of starting at an 8. I want there to be more relatable humanity in my characters at the top. It makes wherever they end up that much more impactful.
What’s a tool, technique, or resource that really helped you during production?
The Delkin Fat Gecko car mount was PRICELESS. I demanded close ups the characters in profile at the front of the car while both driver and passenger were in it. We wouldn't have been able to shoot from those angles without that mount. I wanted the performers to play off one another while shooting. I didn't want to remove the passenger to shoot the driver and vice-versa. Also, my DP, Charlie, did a wonderful job lighting the whole thing. It was a near impossible task that required very little in the way of gear. He made it work and it looks beautiful!
Independent filmmakers often rewrite the rules out of necessity. What do you think is the greatest strength of independent filmmaking, and how did you lean into that on this project?
"Trying anything new and different is one of the greatest strengths of independent filmmaking. Taking risks. Being authentic. Make your movie now. Don't wait for permission."
What does it mean to you to have your film selected for FilmQuest, one of the world’s top reviewed genre film festivals?
It's an honor! Every genre filmmaker knows that it's the real deal. True thought and care are put into making it a film camp for the film-obsessed. It's Jonathan's baby, and he treats it as such.
FilmQuest celebrates the majesty and might of genre filmmaking across fantasy, horror, sci-fi, action, thriller, western, kung-fu, and beyond. How does your film fit within—or push the boundaries of—genre storytelling?
"I've had this problem of being too weird for some mainstream festivals and not weird enough for some genre festivals. I'm beginning to see one of my strengths as being able to bridge that gap."
It allows me to play to people who may not be familiar with genre, and introduce some levity and arthouse into the genre scene. I've always hated such tightly constrained categories. Whatever I make is me. It's a blend of every genre. Not just one thing.
Where do you see this film going next?
Hopefully more amazing festivals! I kind of imagine it like once the first half of 2026 hits, we'll attempt the second and final leg of this circuit run. After that I'll most likely be looking for distribution on several popular short film YouTube channels. The more eyes on it, the better.
"At the core of all my work is a desire to have an impactful conversation with the world."
Cast & Crew
- Brian Lederman — Writer/Director/Editor/Producer/Composer. Brooklyn-based emerging filmmaker, creator of Pushover.
- Grant Herson — Co-Producer/Sound Recordist. Writer/director of feature horror comedies.
- Charlie DesJardin — Director of Photography. Veteran DP known for versatile lighting.
- Patrick Voss Davis — Lead Actor (Owen). Seen in Sirens, Law & Order, and Off-Broadway.
- Andy McCain — Lead Actor (One/Hitchhiker). Actor, director, fight choreographer, and more.
