How did you get involved with the Whiny Baby project, and what elements of the brand were you most excited to highlight?

I pitched the overall idea to Jess, and it was such a dream opportunity as there are so many possibilities with their unique packaging design and strong creative identity. I felt super grateful to be able to write, direct, and shepherd it throughout the entire process.

I wanted to focus on incorporating subtle nods to the brand origins and highlighting the fact that it is women-owned. I also wanted to tie the unique bottle design into the story, and focus on its strong curated visuals and world building. When writing the script, I made sure the brand’s approachable and fun nature was clear, while also trying to tap into the ways that wine facilitates connection.

How did you land on the title “Don’t Stay Bottled Up” for the film?

“Don’t Stay Bottled Up” is present throughout Whiny Baby’s messaging. If anything, it was a starting point for the creative, and in the end, it made sense to keep it simple and use that as the title, because it fit the overall tone of our story so perfectly.

The film has a distinct 60s vibe. What about the sitcom Gidget inspired your choices?

Gidget laid the groundwork for me to want to move to Southern California. My mom used to watch the show when she was young, so I ended up watching it at some point with her and fell in love with it, too. I really enjoyed outdoor sports growing up and the beach culture angle of the show spoke to me. I loved all the ‘60s period costumes, the over-the-top fake surfing scenes shot in a studio, and the unserious nature of it all. There was also a fearlessness to her character that I really related to and wanted to emulate. I tried to bring out that balance. The fact that the main character isn’t afraid to jump into whatever life throws at her and that she doesn’t take herself too seriously is her superpower.

“My mom used to watch the show when she was young, so I ended up watching it at some point with her and fell in love with it, too.”

My favorite scene is when the actress is driving in the red car through the canyon to the beach, wearing the bow that our stylist Brenda glued seashells onto. I want to be transported into that world!

How was your experience shooting on 35mm film in Malibu?

I loved every single part about shooting on 35mm, and I’m always looking to shoot projects on film whenever I can. It requires a lot more intentionality with every decision and more preparation and rehearsals beforehand, but that makes it feel much more special with a more limited number of takes.

I also love shooting in Malibu — it is a special place that was unfortunately devastated by the fires at the start of the year. The Pacific Coast Highway was still closed when we filmed this, and we had to drive through the canyons instead to get to the location. The road is now open, but it meant a lot to be able to support some of the local businesses in that area in some way after all they have been through.

How was the collaboration process with founder Jess Druey and brand poster designer Tori Huynh?

I can’t speak highly enough about working with Jess. She was one of the first people who took a chance on me as a director– she hired me through her role as a creative producer at Red Bull when I first moved to Los Angeles a few years ago. She puts a level of trust in others and lifts them up in a way that is really empowering and she is always open to creative exploration and new ideas. I’m looking forward to what the future holds.

I first reached out to Tori in 2023 to design a couple of posters for two short documentaries I was working on, and I have been lucky enough to collaborate with her multiple times on different projects since then. I’m always blown away by her designs and am especially inspired by her illustration work.

What were some of the creative challenges you faced while making the film?

This is my first time creating for and working with an alcohol brand. There were several considerations and standards that we needed to follow to stay within the standards for wine advertising. I tried to use those guidelines to our advantage and work them directly into the script. It was a creative challenge but also a benefit in the end to have a narrower focus.

We were on mother nature’s schedule across the two days of shooting, and that sometimes posed a challenge. The first day, we were shooting on the beach in Malibu and had to work against a rising tide at the end of the day. On the second day, we had a rare drenching rainstorm in the morning to deal with, but our talented crew made those interior scenes look like it was still a classic sunny L.A. day outside. By the afternoon when we had to shoot outside on the patio and in the canyon with the car, the skies had cleared, so we had some luck on our side for that!

What is your favorite wine?

Full transparency, while I like drinking wine with friends at dinner or at an event, I feel like I am not educated enough about it. If I am bringing wine to a dinner or as a gift for someone who really is passionate about it, I get intimidated and sometimes confused in the aisle about what to choose with so many options. I know that’s why Jess started the brand to help demystify that experience. I can relate!

What are you currently working on?

I’m currently in pre-production for a narrative short that will finish filming in early September. It’s a proof of concept for a larger feature screenplay I’ve been working on, with both projects being supported by Canada Council for the Arts.

The story is adapted from my late mother’s yet-to-be-published book documenting her experience of a woman-led wilderness expedition in 1974. It will also be shot on 35mm, and it has been a lot of work so far, but I am so grateful that I am being given the opportunity to share her story.

“The story is adapted from my late mother’s yet-to-be-published book documenting her experience of a woman-led wilderness expedition in 1974. I am so grateful that I am being given the opportunity to share her story.”