Meet Wes Clark
Wes Clark brings a fresh voice to indie filmmaking with this biting neo-Americana satire. Clark channels the rebellious spirit of John Cassavetes while infusing his work with modern, socially relevant themes. His sharp wit and indie roots shine through in his debut feature, blending humor with deeper reflections on the pressures of modern life and the absurd lengths people will go to fit in.
Career Journey & Inspiration
What was the defining moment that made you realize you wanted to pursue filmmaking (or your role in the industry)?
My father and I would go to the same bar in my hometown every Saturday for lunch when I was in high school. He had grown up poor in Maine and had turned himself into a self-made lawyer with eyes to gift his children with the ability to live a better life. Typically, our lunches were quiet; my father drank and I would watch college football, but this time was different. He asked, “What do you want to do in your life?” Now a senior in high school, I told him I would go to Davidson College, but that’s not what he wanted to hear. Not where, but what. I told him that my plan was to become a lawyer like him. My father, an alcoholic and an extremely serious man, looked me in the eyes and said, “If you become a lawyer, I’ll kill you.” The truth was, earning a good living came with consequences, and for my father it meant extremely long hours, unbearably stressful days, and a never-ending workflow. He gave me one month to find the answer to his question, which was subsequently answered when I turned inward on myself. I loved the movies! I’d sneak out three times a week once I earned my license to the local Regal and watch anything that would be shown on the screen. I told him I’d become a movie director, and today I am!
Who or what has had the greatest influence on your creative journey?
I met Dean Israelite (director of Power Rangers) when I was in college, and became his creative assistant for two years. While I worked for him, I learned what it took to become a director, working with studios, financiers, and actors. Dean took me under his wing and continues to give me advise to this day – empowering me to simply direct. It didn’t matter the budget, who was involved, or anything else. If the project spoke to me, I should go ahead and make it happen.
What was your first project, and what did you learn from it?
My first short, Dear Dad, was made through the Moving Picture Institute’s fellowship program. It was raw and imperfect, but it taught me two invaluable lessons: (1) even small crews can make cinematic work if everyone believes in the story, and (2) deadlines are the best creative motivator.
Looking back, what was the biggest challenge you faced breaking into the industry? Which project are you most proud of, and why?
Breaking in meant learning to convince others to take a chance on me — financiers, actors, crew. That first “yes” is always the hardest, but it often leads to magic.
Creative Process & Behind the Scenes
Can you walk us through your process when starting a new project?
I start with a question I can’t stop thinking about. “What would happen if…?” From there, I build a theme, then characters, then plot. Only once I understand the emotional core do I start outlining scenes. As a rounded filmmaker, writing, directing, and producing, I have to understand how each of these aspects can come together and work in my favor. Projects can’t only be creative, but also financially viable and marketable.
How do you approach developing a story or visual style?
I immerse myself in references — photography books, old movies, even paintings. For The Psychic Files, we studied classic VHS horror to get the grain, lighting, and even camera movements right. The goal is to make the audience feel a certain way before they even realize why. I do my best to mimic culture and art, building on those who came before me. As a child, I was a sculptor, traveling around the world for different art academies. My love for art and sculptures inspires my filmmaking, taking inspiration from my favorite works.
What’s something about the filmmaking process most people would be surprised to learn?
Most people think film sets are glamorous — they aren’t. They’re long, exhausting, and often uncomfortable days. Yet, the chaos is part of the magic; the best moments often come from unplanned discoveries.
Can you share a behind-the-scenes moment that changed the way you view filmmaking?
On How to Start a Cult, our lead actor got food poisoning and required half the day off. This forced us to initially shift different scenes into the morning slot, but also to draw on our associate producer Spencer Hawkins to step in as our lead’s understudy. We were able to film Spencer, but we could get shots from our supporting cast, extreme close-up B-roll, and even one shot of Spencer’s hand untying a knot. Most people don’t realize, but films are not real (I know, crazy!) And sometimes movies require out-of-the-box solutions (magic) to make it work.
How do you handle creative differences with collaborators?
I ask, “What serves the story?” That question is the great equalizer. If we disagree, we test the options on set or in the edit and see which one makes the story stronger. Ego can’t survive that process — only truth can. At the end of the day, nobody knows what they’re doing… even the most successful filmmakers. I’ve learned over the years to trust myself, take what I agree with, and leave the rest.
Pushing Boundaries
How do you challenge yourself to tell stories in ways that haven’t been done before?
As a young filmmaker, I remain open to experimentation in mediums, diving into both traditional cinema, found footage, as well as AI-generated animations. My greatest strength is my ability to produce content, finding meaning and expression that speaks to me, as well as my audience in a myriad of ways.
What risks have you taken creatively that paid off?
Leaning into satire with How to Start a Cult was a risk. Mixing humor and darkness could have alienated both audiences and festivals — but instead, it stood out and earned a semi-finalist award at Seattle Film Festival. That style has become a staple of my work, fighting back against a cancel culture that forces conformity. Since directing the first movie, I’ve not only directed a second, but I’ve also signed on to write two scripts that utilize comedy and satire to drive conversation.
Have you ever taken a risk that didn’t work out, and what did you learn from it?
My second movie, The Psychic Files, was edited with an overly experimental lens. While I loved the work and promoted it strongly to my investors, they ultimately pushed back and forced a second edit. It taught me that audiences are ultimately the final judge; if they can’t follow the story, they won’t care about its meaning. At the same time, I also learned that as a filmmaker, every project is personal, and it can be difficult to discern hatred toward the work as not being against myself. This dichotomy is something every director struggles with… and that I will continue to struggle with.
How do you balance personal storytelling with universal themes that connect to wider audiences?
I write on issues that relate to me as a young American, but I filter it through characters and scenarios that anyone can relate to. The key is grounding — if the emotions are real, the audience finds themselves in the story. I typically don’t turn inward for emotional moments as much as philosophical thoughts about my generation and our shortcomings. For example, How to Start a Cult questions college culture and the loss of religion, and how that drives young men to the extremes of society, where they are unable to express their emotions or connect with women. The Psychic Files challenges follower culture, identifying and playing out the understanding that online followers and viewership mean nothing when confronted with real-world challenges–like a murderous Psychic.
In what ways do you see film as a tool for cultural or social change?
Film is a powerful tool for change, but that culture has shifted massively in the last decade. TikTok and YouTube have become a breeding ground for poorly thought-out ideas that lead to dangerous consequences. Through my work, I question the questioners as much as possible; reverting back to what was once a ‘normal’ viewpoint, but what has become a traditional mindset. While not religious myself, I promote a retraction of my generation, steering audiences to question what we “value” today, versus how little it is actually worth. I don’t seek out social change through my work as much as I promote a reversion to a simpler time, where the variance of ideologies wasn’t as violent or destructive.
Funding & Sustainability
What has been your experience with raising funds for projects?
I’ve raised budgets from $80k to $300k, and I’m currently packaging 3 projects in the $2M+ range. The process is never easy — but the pitch deck, budget transparency, and personal trust are everything. You build relationships with production companies, producers, and financiers over time and wait to find the perfect moment to approach them with a project. The mistake most people make is asking for money immediately, instead of developing relationships and waiting for the perfect moment to ask.
How do financial constraints influence your creativity?
Limitations are often a gift. They force you to solve problems in creative ways — like designing scenes that are scarier because you don’t show the monster. My first two films were extremely low-budget, which forced me to work with new actors and filmmakers. While many filmmakers will romanticize this, I want to express how challenging it can be to create an amazing project with no resources. The sad truth is talent is expensive, both in front and behind the camera, and to get the most expressive, dramatic, and powerful moment on screen, it often costs a great deal of money. The key when working on low, low-budget projects is to push as much money on screen as possible, cutting down as close to nothing on production costs to make up for it.
What strategies have helped you sustain a career in such a competitive industry?
When I graduated from college, I told myself that I’d give filmmaking my all until I was 26, when I’d re-evaluate my situation. Two years in, I’ve managed to direct two movies, and I’m signed on as a writer and producer of several others to come. While this sounds great, I want to be clear to other rising filmmakers, this doesn’t make me rich or sustainable.
I’ve been fortunate to use my ‘filmmaking’ skills to develop start-ups in my free time, as well as building a YouTube page @WesClarkFilm, which has supplemented my income, but film alone isn’t enough. This isn’t to say it won’t happen… but only two years in, and such a feat would be nearly impossible. I suggest to anyone seeking to jump into the film industry, to build up a safety net for at least a year or two, and then go full steam ahead. Send every email, call every number, and fight for it with the time you’ve bought yourself.
What advice would you give to filmmakers who are struggling to secure funding?
Start small, prove you can deliver, then level up. If you can raise $20k, make your movie. Your first investor isn’t buying the project — they’re buying belief in you. They’re hoping that in ten years when you make your first $10 million project, you’ll send him his money in the mail as a thank you for building your career.
The first person who invested in me signed a $20k check… one year later, he signed a $100k check. If you do good work, those small projects build up into massive ones.
Do you think access to funding is getting easier or harder for emerging filmmakers today?
Accessing funding has never been easier, and making films has never been cheaper. My recommendation for anyone wanting to make a film, go and make one for $10k, using your iPhone or a DJI Osmo Pocket (cheap and 4k). Don’t waste money on festivals or going to distributors, build a Wix website and sell the film to your friends and family for $5 each. Add a feature where people can get the movie for a discount if they provide an email to a friend, making the film cost $2-3. Let’s say you sell it to 5000 people… you make $15k, and now you have money for a second film.
Why do this? If you do it this way, you control your progress and you’re able to work fast and develop your skills along with other filmmakers. By the time you make your third or fourth film, you’ve made a resume that any producer would be begging to work with. This is the cheapest and quickest way to become a working director, and with the online resources today, you can do it in less time than it would take to go to “film school,” which will cost you far more money!
Someone out there will ask… how do you raise $10k. That’s a great question… pre-sell tickets for the film, ask family, or (and most likely) get a summer job. After a few months, you’ll have enough savings to make something cool. It’s a big sacrifice, and most people won’t do it, but the person who does will have a real chance at becoming a director.
BONUS: What advice would you give a newbie on how to raise funds for their first project?
See above!
Indie vs. Mainstream
What do indie films offer that mainstream cinema often misses?
Indie films can be fearless. They can take risks mainstream cinema can’t, because there’s less money to lose — and that’s where innovation happens. Filmmakers all get their start in independent film… but when they’re ready, it’s time to move up and make a real living. The sad reality is that fearlessness doesn’t make good cinema… it just tests the boundaries. Often this can be beautiful, but sometimes it’s terrible. As a filmmaker, it’s important to push hard for innovation, but without ever forgetting the audience – one bad movie at the start of your career and you might never make another.
Have you ever felt pressure to shift toward mainstream filmmaking practices, and how did you respond?
I’ve always felt pressure to move toward mainstream filmmaking… but I honestly accept it. I’ve never set out to reinvent filmmaking, as much as I’ve done my best to reinvent how to develop my own career in the age of YouTube and AI. The stories I tell are mine and that’s what I value; being independent for the sake of being independent isn’t anything I’ve sought after.
How has streaming changed the opportunities available to indie filmmakers?
Streaming has removed Minimum Guarantees from the industry, which has ruined the low-budget indie scene. However, Wix and online resources to bring your product directly to consumers, without paying sales agents and distributors 40% or more, have made the landscape much healthier. The problem is the current idea within the industry that this is “wrong” or “illegitimate.” If I told you you’d put your film out on a Wix website and earn one million off a film that costs 50k to make, and you own 100% of the value, you’d be excited. While this may be a reality (to a small amount of creatives), it has almost never happened in the current streaming model. How could it?
Do you think the line between indie and mainstream is blurring, and what does that mean for storytellers?
Absolutely — and it’s exciting. Big studios are borrowing indie aesthetics, and indies are reaching massive audiences through digital distribution. The middle ground is where the future lies. I promote this in my own work at all times.
Where do you see your own work fitting within the indie vs. mainstream conversation?
I see myself being a big studio director, working on projects that are now produced for 100 million, but I believe will be only twenty million in the future. Filmmakers will start working with smaller crews, fewer actors, and build coalitions that no longer need as much money, given AI and other advancements in technology. As I’ve said, my goal isn’t to struggle in the indie world. My favorite films all cost tens of millions of dollars to make, and I’d love to do that myself one day!
Bonus: What do you want people to remember most about your work?
I want people to say, “That was honest.” Whether it made them laugh, cry, or scream — I want the work to feel raw, human, and alive. Above all, at this stage of my career, I’m happy when people guess the cost of the project far above the actual price tag. At Seattle Film Festival, someone asked how I raised so much money, guessing it was $400k… which was the best compliment I ever received!
More details on Wes are here: Wes Clark – IMDb
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