Table of Contents
Three Key Takeaways
- “Spool” explores the impending loss of a parent through a unique blend of horror, mystery, and holiday melancholy.
- Director Mike Manning embraces collaboration and post-production excellence, leveraging industry connections to elevate his short film.
- The film’s multi-genre tone and intimate storytelling open the door for a feature-length adaptation in development.
Los Angeles-based director Mike Manning, co-founder of BME Films, presents his genre-defying short film Spool, selected for FilmQuest 2025. Featuring Jesse LaTourette and Jessica Erin Martin as two sisters confronting their father’s cognitive decline, this haunting tale blends horror, mystery, and a touch of holiday spirit. With a script penned by Mike Gerbino and a production bolstered by top-tier post-production talent, Spool is a poignant meditation on grief and family that defies easy categorization.
What drew you to make this film? Why this story, and why now?
Since forming our production banner BME Films in 2008, we've produced nearly a dozen short films. Of those that I directed, I also served as the writer. When you're starting out, it's easier (and maybe safer?) to be the originator of the ideas you set out to bring into this world—especially if you're also financing it yourself. Outside of BME Films, I work as a post producer in features and TV—most recently THE STUDIO for Apple TV. As such, I read a lot of scripts and work with a lot of amazing writers, so I know what good writing looks like... and the stuff I have written doesn't look like that. That's not to say that I think my other shorts are "bad," but I think I have a better grasp of what my strengths are as a filmmaker. So I set out to direct something that was written by someone else for my next project.
Spool was a script I found online—specifically on the now defunct website Coverfly.
I was looking for something high concept, but I wanted to keep things contained—too often shorts become run and gun with over-scheduled days in multiple locations. Here, we spent 3 days on a single set—only 10 pages—and I could really zero in on making sure the film was visually interesting and engaging. Of course my job was made much easier by a script that was expertly written, genre-defying (Christmas-y, horror-ish, mystery?) and surprisingly sweet. And to my delight, the writer also had a feature version of the script in his back pocket and now we're developing what might end up being my feature directorial debut!
"Only with independent film will you have professionals of this caliber show up for-the-love-of-the-game."
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?
There was a lot going on in my life right when we filmed Spool... We shot at the beginning of December and I was neck deep in finishing THE STUDIO (which was due to Apple before the holidays!). My wife was also 6 months pregnant at the time—our first child—a baby boy who arrived in early April! But I think what surprised me the most about making the film was that, as my first time directing something that I didn't write, I felt a sort of detachment from the project that unburdened me from the material... It was very refreshing and probably our most casual shoot!
Is there a moment in the film that feels the most you—something only you could have made?
Conceptually, I think there's a tone to the piece that is very specific. It's been hard to fit the film into a box... Horror, I guess? But I really set out to layer the film with a sense of melancholy and a dash of holiday spirit to help make it feel specific.
Literally, the moment that is "most me" is the opening... A scene that stars my dog Winston and has him doing rehearsed/trained actions in conjunction with a camera/dolly move. Only I could have had him do that!
What was the hardest creative decision you made while making this film?
The hardest decision was to greenlight the film! Originally we were going to shoot in 2023, but the strike happened. At first we were like, "this is the perfect time to shoot something, everyone is available!" But then as the strike went on—and SAG joined in—it started to feel irresponsible to spend money on a short film when I didn't know where my next paycheck was coming from. Only took a year and a half, but eventually we got around to it!
What do you hope audiences take away from your film?
The film is an examination of a very specific type of grief—something that I think a lot of my fellow millennials are starting to collectively go through. It’s not the loss of a parent, but, rather, the IMPENDING loss of a parent. It’s the mourning before they're gone—because it’s just around the corner for a lot of us. I hope that the film resonates with people going through that.
"The film is an examination of a very specific type of grief... the IMPENDING loss of a parent."
How has this film shaped or shifted the kind of stories you want to tell next?
Well, we're working on the feature version, so it's quite literally shaping what I'm up to next!
What’s a tool, technique, or resource that really helped you during production?
This is going to come off like a bit of a flex, but thanks to my work as a post producer, I have A LOT of connections when it comes to post. We probably ended up with $50-100K worth of favors/labor that would otherwise have no business being a part of a short film. From mixing on the biggest stage at the Fox lot, to coloring at Harbor, to full CG shots from Lola VFX... I'm in awe of the people who turned up to help out on my little short film!
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?
I think when you have people turning up, like the pros I mentioned above, it really highlights that we're artists who do this job because it's who we are. Yes of course we paid people, but it's only with independent film that you'll have professionals of this caliber show up for-the-love-of-the-game. I think my advice, especially for people starting out, is to earn your stripes on other people's sets. I only had these connections because I've been working in this business for 15+ years... and I'm still marching forward on my path to directing professionally!
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!! I'm really trying to make it work, but (with the new baby) I don't think I'm going to be able to make it out to Utah and I'm really sad about it!
FilmQuest celebrates 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 talked about it a little bit earlier, but what I love most about our film is its weird multi-hyphenate blend of genres. It's a Christmas-y horror(ish) drama haha!
Where do you see this film going next?
We have a couple more screenings this year... The one I'm most excited for is the American Cinematheque's PROOf Film Festival, which highlights shorts that are proof-of-concepts for a feature film. Hopefully we can use this festival momentum to launch some interest in the feature screenplay!
At the core of all my work is a desire to entertain people!
Cast & Crew
- Mike Manning — Los Angeles-born filmmaker, co-founder of BME Films, director of Spool, post producer on THE STUDIO and others, represented by Zero Gravity Management and UTA.
- Mike Gerbino — Writer of Spool short and feature scripts; writer of FREELANCE and KAISHAKU.
- Jesse LaTourette — Actress known for BOY ERASED, THERE'S SOMEONE INSIDE YOUR HOUSE, V/H/S/99.
- Jessica Erin Martin — Actress known for OPPENHEIMER, RATCHED, CRIMINAL MINDS.
Learn more about the film here.
