Table of Contents
Three Key Takeaways
- Self-Tape explores the tension between genuine artistic effort and the ease of complacency in today’s creative industries.
- Collaboration and trust among cast and crew brought a raw, authentic energy to the film’s pivotal scenes.
- Independent filmmaking’s resourcefulness and problem-solving spirit were crucial to bringing this story to life on a limited budget.
Actor, writer, and executive producer Nick Samson brings his layered insight on artistic frustration and ambition to the film Self-Tape, premiering at FilmQuest 2025.
Directed and co-written by Josh Baker, with a talented ensemble including Jonathan Dylan King and Solomon Astley, the film offers a unique blend of dark humor and raw emotional truth about struggling actors navigating the competitive industry landscape.
Samson’s dual role in front of and behind the camera helps shape a deeply personal story that resonates with creators everywhere.
What drew you to make Self-Tape? Why this story, and why now?
In today’s arts and film industry, the pressure to produce quickly often overshadows the pursuit of true quality. There’s little space for artists to stumble, experiment, and grow. It can feel like a relentless machine. Self-Tape was born out of my desire to question that reality: How can we give our full, genuine effort to creating something meaningful when so much of society rewards doing only the bare minimum, especially in this emerging age of AI? For me, it's question and a challenge I’m committed to meeting in my work.
As our director, Josh Baker, says: “Filmmaking can easily become a stale process, but it can just as easily become alchemy.” It takes real blood, sweat, and tears to breathe life into a story. When I first shared my rough script for Self-Tape with Josh, I was surprised to learn he was developing a nearly identical concept; an artist searching for truth in an environment surrounded by those that don't want to, or simply don't know how. At its heart is a character who feels shame, knowing they too often surrender to comfort and ease, driven by the universal fear of failure.
Every creative knows the cycles; moments of deep commitment and truth, and other times when the work simply needs to get done. For better or worse, we’ve all been there and had those conversations. That shared experience is what makes Self-Tape both funny and terrifying, and it’s also what made the project such a deeply rewarding collaboration between Josh and I.
“Self-Tape was born out of my desire to question that reality: How can we give our full, genuine effort to creating something meaningful when so much of society rewards doing only the bare minimum, especially in this emerging age of AI?”
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?
This was the first film I’ve acted in that I also co-wrote and produced. After nearly a year of prep, I was honestly surprised by how easily I was able to separate myself as a filmmaker once we got to set and just focus on my job as an actor. That really speaks to the incredible team we had. It was a small but mighty crew of artists who are so good at what they do. Josh, especially, created such a playful and safe environment for everyone. I felt really free. For the most part, I wasn’t worried about whether we were making a “good film.” I was just fully present.
Is there a moment in the film that feels the most you—something only you could have made?
I think the interaction between my character, Eliot, and Bobby, played by Jonathan Dylan King, really came to life because of the familiarity we already had from working together. Jonathan and I come from the same acting studio, and we’re constantly helping each other with tapes, so there’s a real understanding of each other’s process. When we shot that final scene, we both kind of got lost in it. We forgot the camera was even there. It felt eerily real. I think any two actors who know each other well can tap into that kind of connection, but what we created was unique to us; a mix of tension, familiarity, and groundedness.
What was the hardest creative decision you made while making this film?
Editing. Hands down. I think we all know how hard it is to kill your darlings. But eventually you realize, yeah, that just didn’t work, and the film is better for leaving it out.
What do you hope audiences take away from your film?
I hope audiences walk away having experienced something beyond just entertainment. I want them to leave with questions, about the film, and about themselves.
“Josh created such a playful and safe environment for everyone. I felt really free.”
How has this film shaped or shifted the kind of stories you want to tell next?
I find myself naturally drawn to stories about art and the artist experience. That exploration will only grow more complex as AI evolves and the industry continues to change. I’d love to keep exploring some of the themes from Self-Tape in a feature, whether that means continuing this story or creating an entirely new set of circumstances, also through the lens of a character that feels isolated.
What’s a tool, technique, or resource that really helped you during production?
For the sequence between Eliot and Bobby, we did multiple takes of one continuous shot. We were in a small room, just me, Jonathan, our DP, Logan, who went handheld, and our sound mixer, Liam. It became this sort of dance between the four of us. Those long takes really allowed Jonathan and me to fully immerse ourselves in the scene.
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? Is there a lesson or breakthrough you’d share with others navigating this path?
I think independent filmmakers are some of the best problem solvers out there. A big part of it is always asking, “How the hell do we make this on this budget?” After funding the film entirely through crowdfunding and donations, our final budget ended up well below what we’d hoped for. So we adapted. We somehow made it work. Sometimes limitations spark creativity and actually simplify things. Being able to do a lot with very little is what makes independent filmmaking so special.
What does it mean to you to have your film selected for FilmQuest, one of the world’s top reviewed genre film festivals?
I’m really honored. I think this is the perfect place to premiere Self-Tape. It’s hard to pin down exactly what genre the film is, and so many of the films in the festival are genre-bending. Plus, I’ve never been to the beautiful state of Utah, so that’s an added bonus!
“Sometimes limitations spark creativity and actually simplify things. Being able to do a lot with very little is what makes independent filmmaking so special.”
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 never had a particular genre in mind when I first drafted Self-Tape. It’s never just one thing. I think when you watch the film, you’ll get a sense that you’re not quite sure how to feel or what it really is. There are moments of real discomfort, moments that feel grounded and then suddenly turn big and shocking. That’s the style of storytelling I want to continue exploring.
Where do you see this film going next?
Hoping FilmQuest is just the first of many opportunities to share our film with a live audience. We have quite a list of festivals we're waiting to hear from for the remainder of 2025 and into 2026.
“At the core of all my work is a desire to tell the truth."
Cast & Crew
- Liz Holland — Executive Producer, Assistant Director. Loyola Marymount alumna with extensive AD experience
- Logan Floyd — Director of Photography. AFI MFA graduate with work shown at Tribeca, BFI, Cannes
- Mark Fuell
- Lafe King
- Marshall Granger
- Yun Nam
- Abe Betancourt
- Jesse Garcia
- Ian S. Peterson
- Logan Highlen
Additional Key Crew
- Sean Samson — Associate Producer
- Sharon Samson — Associate Producer
- Abe Betancourt — Sound Editor
- Liam Dolan — Sound Mixer
