Tyson Kroening and Evan Cannon are two of the brightest up-and-coming independent film mavericks in the industry. After successfully collaborating on and finding distribution for the film, ‘I Will Not Take Care of You,’ they embarked on a full-length documentary film about Scorpiusfest titled, “Spectacular By Comparison”. Upon the completion of the documentary, they made a bid to become new owners and management of the small film festival out of Park City, Utah, in order to carry its vision forward. ScorpiusFest has since, taken on a vibrant, new life-force and began to explode under their direction.

 Scorpius Magazine was recently able to interview Tyson Kroening, the primary driving force behind the documentary and the new direction of ScorpiusFest.

Scorpius Magazine: What has the transitional experience been like to go from being an independent filmmaker to taking on an international, independent film festival?

 Kroening: It’s been a learning experience for sure. Wasn’t something I expected, or honestly really ever wanted to do, so, I was certainly not as prepared for it as I’d have liked.  It just kind of happened and I ran with it because I didn’t wanna see the festival die after everything you’d (Steffon) put into it. Seemed like a real shame to finally put out a documentary so people can learn about it only to end the movie with, “And it’s gone.” Ultimately, I’m glad we did it and I think we’ll (or at least Clarence and Brittany will) continue to get better at running it, even if I’m sorta floundering in the shadows.

Scorpius Magazine: Tell us about how you met Evan Cannon and the odyssey of working on “I Will Not Take Care of You”?

Kroening: I first worked with Evan years ago in corporate land at a small company called Craftsy. We quickly became friends and continued to work together after that job had run its course. When I decided I wanted to do “Take Care” I was at a different corporate job and wanted to make something that wasn’t. I knew I didn’t have the resources to make a full feature, but I could provide post, so the pitch to my friends was, “You can write whatever speaks to you as long as it’s within the theme, you shoot it, and I’ll handle everything else.” To my surprise, many said yes and Evan was one of them. From there we decided we should keep making movies and so Subjective became a real thing.

Scorpius Magazine: What can you tell us about the new ScorpiusFest crew?

Kroening: Biased as hell here, but I think they are wonderful people. Brittany is brilliant graphic designer who handles all the branding, Clarence (who was also a filmmaker from “Take Care”) handles everything on the backend. Together we all watch the movies and make the calls on what screens and whatnot. We are trying to run it in the same spirit you did. Filmmakers first, money 5th.

Scorpius Magazine: In the wake of the success of the new chapter of ScorpiusFest in Boulder, Colorado, what can you tell us about the experience, memorable moments, and after-thoughts?

Kroening: It honestly felt a lot like making SBC – we didn’t know if it would work at all. We were all very pleasantly surprised by the turnout and the enthusiasm of those who submitted and attended. The entire time I was so worried we weren’t doing well enough to make the gamble worth it for the Dairy Arts Center where it was held, but at the end of the day they declared it a success and asked us to come back. So, we’re gonna do that with a new edition in March 2027. It was all pretty memorable to be honest but also so exhausting that it’s kind of a blur – you’ll have to ask Britt or Clarence if you want specific highlights.

Scorpius Magazine: ScorpiusFest is now being produced by independent filmmakers, for independent filmmakers, have you found it to be particularly rewarding, considering that fact?

Kroening: It is rewarding, yeah. The film festival circuit isn’t quite what it used to be. People aren’t getting massive deals on their indie movies anymore and there’s more than a few laurel mills on submission sites that are more interested in the entry fee than the work itself. No judgement to any of our peers, but it’s something I’ve experienced firsthand trying to navigate that world, so to have this festival exist as a place for people to come with no preconceptions of grandeur to share their work and be around people who give a shit about it, is cool. I’m glad we get to facilitate that opportunity for people.

Scorpius Magazine: What thoughts might you have regarding ScorpiusFest 2027 and is there anything particular you would like to mention or highlight concerning it?

Kroening: It’s three days instead of two this year so we don’t have to do screenings quite as early or as late. Which is a win for everyone, I think.  I also think it will be good and that everyone should come. Please and thank you.

Scorpius Magazine: In the after-glow of the distribution of, ‘I Will Not Take Care of You,’ are there any new film projects in the works for you?

Kroening: Overall, it wasn’t a hit, but it wasn’t made to be. I’m just glad we made it. We’re finishing up a documentary now about Irish / Welsh Folklore called “Fae Folk: A Search for Connection.” That’s sorta the primary thing on the plate the moment. But both Evan and Connor (the other thirds of Subjective) have scripts in the works that’ll come at some point after.

Scorpius Magazine: What are the most exhilarating aspects of both filmmaking and producing ScorpiusFest?

Kroening: For making movies: I like seeing the pieces come together. Especially in documentary where there’s no guarantee you’ll even find anything. When a moment clicks in post it’s something special. For ScorpiusFest: Seeing the filmmakers get recognized and have their work screened in an actual theater and what that means to them is awesome.

Scorpius Magazine: What can you tell us about the digital release and distribution of, “Spectacular By Comparison,” in August 2026?

Kroening: We don’t have an exact date yet, but we’re told it should be streaming on Tubi in August. We’ll let everyone know on the socials when we have a real date.

Scorpius Magazine: What is your vision for the future as a filmmaker?

Kroening:I hope we can keep making stuff our way. I’m so uninterested in making something that’s “marketable” for success’s sake. Don’t get me wrong, I think it would be awesome to one day make something that wound up being liked by other people, but we’ve not had much luck there and aren’t really attempting to change that, so I really just hope we can keep scrounging up the means to continue making things. Even if it’s just for us and the folks at ScorpiusFest that’d be enough. Not really any bigger vision than that.

The post Scorpiusfest 2026 Ignites Successfully in Boulder, Colorado Under New Management appeared first on Scorpius Magazine.

To say Justin Hunt is an innovative, dark horse filmmaker would be an understatement. Hunt is one of the most celebrated writer/producer/directors of our age. His films have been distributed in over 100 countries. He is fearless in his unrelenting passion to take on some of the most important and plaguing social issues of our day. White Whale Pictures, Inc., his production company, has become one of the hottest brands in the industry. As a journalist early in his career, Justin won over 40 broadcasting awards. Hunt has since won over 100 film festival trophies worldwide with his films and screenplays. He’s produced seven feature films, including ‘Rotten Apple’, which has garnered several ‘Best Documentary’ and ‘Best Director’ awards and nominations. 

Scorpius Magazine was thrilled to recently enjoy the honor and privilege of interviewing Justin Hunt.

Scorpius: What was your life like in early childhood and what were the most powerful movie and television influences during that era that may have inclined you to gravitate towards the path that led you to become a broadcast journalist and filmmaker?

Hunt: My early life was extremely unique and nomadic.  I grew up in a family in the world of horse racing, which was a fascinating landscape and we moved around a lot.  Both of my parents are in the Hall of Fame for, so our family was quite popular everywhere we went, and that led to a lot of rare experiences.  As far as movies and TV shows, I recall several of the old TV shows like Hill Street Blues, The Rockford Files and Barney Miller, which were full of a creative mixture of drama and humor.  A few films that stuck with me from my youth are Watership Down, Jeremiah Johnson, Butch Cassidy and The Sundance Kid and Cool Hand Luke.  Those had an impact.

Scorpius: What was it like being raised by horse racing professionals?

Hunt:  It was definitely an abnormal childhood.  I saw a lot of things that kids shouldn’t see, but it was pretty cool having parents that entire communities came out to see when we would come to town.  However, there was a dark underbelly to it all that exposed me to a lot of the uglier side of life at an early age.

Scorpius: Who were the most influential directors and documentary filmmakers for you?

Hunt:  To be honest, I don’t really have any documentary directors that I model myself after, although I do appreciate the work of Tiller Russel (Nightstalker).  In terms of narratives, directors that I consider to be inspiring to my work are John Ford, The Coen brothers, Stanley Kubrick, David Fincher, Paul Thomas Anderson, Quentin Tarantino, George Roy Hill, John Hughes and Steven Spielberg.

Scorpius: What was life like as a broadcast journalist for an NBC affiliate and what was the hardest story you had to report?

Hunt: I loved being a journalist. I enjoyed being ‘inside the ropes’, so to speak, as well as dealing with the community and being the first to know when something happened.  There are too many stories to name that were difficult, but seeing innumerable dead bodies, families dealing with tragedy, things of that nature were never fun.  On the other hand, there were also stories that had a happy ending that made it worthwhile.

Scorpius: What was the most rewarding aspect of being a broadcast journalist?

Hunt:  I think being a source of credibility for the community, the person they count on to know what’s happening in their environment, was probably the most rewarding.  Having people approach you and tell you they appreciate what you do and how well you do it.  That always feels affirming when you’re trying to do a good job.

Scorpius: Would you tell us a little about each of the films you produced, maybe a memorable moment from each and which was your personal favorite to work on?  Army Men, American Meth, the Speed of Orange, Far Too Far, Addicted To Porn: Chasing the Cardboard Butterfly, the Post.

Hunt: That’s a very broad question, but I can tell you that they were all very difficult to produce, but they were all extremely rewarding because of how they affected people’s lives.  Touring various countries with the films and seeing how they impacted different people in different ways.  Talking to them and hearing their stories and how the films helped them to deal with certain issues in their lives.

Scorpius: What was it like to work with James Hetfield?

Hunt: As a kid that grew up listening to Metallica, seeing them as bigger than life, it was pretty surreal, at first, to be in their world and to work with Het.  But, as we got to know each other, the wow factor wore off and we just became two men that each had our own life issues and we discussed those as friends.  It was also challenging because working with James is not the same as working with Metallica.  His involvement was personal and not tied to the band, so the weight of their popularity didn’t really play a part in the exposure of the two films we did together.  I’m grateful for the experience and his being part of the films.

Scorpius: What is the most rewarding aspect of your work and what drives you emotionally and creatively as a producer/filmmaker?

Hunt: There are a lot of things that I find rewarding.  The creative process, working with people that I love and respect, seeing the finished product and the impact it has on audiences around the world.  In terms of the documentaries, I enjoy seeing them being used to change and improve people’s lives.  As for the narratives, it’s always a surreal experience to see something that started out as a spark of an idea in my mind make it through the entire creative process to a theater full of people.  That’s extremely rewarding.

Scorpius: Is there an wild, or poignant experience you may recall, during the production of one of your films that made a major impact on you and your perspective?

Hunt: There are tons of them.  I would have to say living with the meth addicts (for American Meth) and seeing that kind of existence first hand was an eye opener.  On the narrative side, being able to direct really great actors who bring your words to life is something I’ll never grow tired of.  Directing Val Kilmer was also a singular experience.

Scorpius: What can you tell us regarding any future projects you are currently engaged in?

Hunt: I have several in the works, both in film and television, that I’m working to get funded and produced.  As I get older, I feel a pull to focus more on the writing, but you never know where life is going to take you, so I just try to be open to whatever presents itself.

Scorpius: Would you ever consider directing a major motion picture if you were approached by a major studio?

Hunt: Absolutely.  Step two is getting that call.

Scorpius: If today were the last day of your life, what wisdom or thought would you leave the world?

Hunt: That, no matter what kind of work you’re in or just living life, in general, being honest and authentic with people, ALL people, will get you farther than anything else you can do.  It’s not hard to take the shady route, to hurt others to get what you want, to be dishonest, but that’s not the kind of legacy I want to leave on a professional level.  And it sure as hell isn’t the kind of mark I want to leave as an example for my children.

The post Internationally Acclaimed filmmaker, Justin Hunt is Awakening the World and Redefining the Art of Documentary Filmmaking appeared first on Scorpius Magazine.

Hailing from Southend-On-Sea, England, Kristian Fitsall is one of the most notably unique and provocative independent filmmakers of recent years. His specialty of bringing drama and comedy together to create deliciously original and hilarious Dark Comedies, has begun to define him as a writer/director.  His brilliant new film, ‘Don’t Bury It’, comes in the wake of his wildly successful recent films, ‘Wallace Gets the News’ and ‘Teething Problems’. The film delves into the issue of mental health and the potential chaos and damage that can result through its avoidance. It has already become a huge hit at festivals and among critics, throughout the world.

Scorpius: What are some impressionable experiences early on in your life which had a powerful impact on you as a storyteller?

Fitsall: The way I fell in love with movies was at sleepovers, staying up late with friends watching trashy horror films. I think that’s why I’m so drawn to horror – particularly campy, midnight-movie-type horror. It’s the communal experience of laughing and jumping together. That, and when my family bought their first VHS camera. From then on, every hangout was either watching or making films – filming silly videos of us going around on our skateboards or trying to fake car crashes with my toys. I just got used to having a camera in my hands. That led to making music videos for friends once people started getting into bands, then short films once I was old enough to know what a script was. I’m constantly chasing that same thrill I felt when I first held a camera.

Scorpius: Where did the inspiration come from for “Don’t Bury It?”

Fitsall: The inspiration, as with most things I write, came from trying to make myself laugh. The image of someone carrying their washing machine and all their other broken appliances into the garden and just chucking them in a hole – I found that funny. Then it was about building out from there: discovering who this character is, exploring themes of mental health and grief. But that juvenile humor remained in the fabric of the film, particularly with our B-movie inspirations and the playful-but-bleak tone.

Scorpius: Which film that you have produced, would you consider your personal favorite and why? Some memorable experiences while producing it?

Fitsall: Don’t Bury It is definitely my favorite so far. It’s the biggest thing I’ve made, which meant a bigger crew – and that means more cool people to hang out with on set. I think my favorite thing will always be the most recent project, because it contains all the lessons learned from everything before it.  I have a very specific memory of losing light on day three – our final shooting day – and realizing we didn’t have time to shoot the final scene as planned. So, I chaotically worked out a backup plan with our DOP Bobby whilst he was still in the hole, covered in dirt, ready to shoot. Then several weeks of anxiety waiting to see if it would pay off in the edit. Thank God it did.  I also remember sitting on the driveway of the house we’d rented after we wrapped, with just the core team who’d I’d been working with for several intense weeks at that point, letting the feeling of being finished wash over us. That was a really special moment.  Another recent favorite is a music video for my own song (SO FAR SO GOOD by 0121Kristie), which involves a narrative told backwards and stars me getting dragged through mud, tied up, beaten up, and thrown into a bog. One of my first times on camera, doing all my own stunts, getting covered head to toe in mud – pretty memorable.

Scorpius: What is your favorite aspect of being a director and storyteller?

Fitsall: I’m a writer first and foremost. I love those moments sat alone at my laptop when a story or scene suddenly clicks and you can see it – then you’re rushing to get the words on the page before they disappear. Seeing those words brought to life by actors on set is always amazing.  I’m a big fan of collaboration, so I’m happy for actors to tweak lines and make the characters their own. That means I get to experience the film for the first time again when I see them perform it.  I’ve also learned a lot from doing music videos and love visual storytelling – finding purely visual ways of getting something across, or exciting ways of shooting it. In Don’t Bury It, lots of the rigs were built so we could play with perspective in the hole – cameras attached to shovels, all that kind of thing. I love those moments of seeing the crew’s input on the film, things that I’d never have thought of myself.

Scorpius: What did you enjoy the most regarding your experience at Scorpiusfest?

Fitsall: As a Brit, it was amazing to come out and see how you guys do it. Seeing how true it is that everything’s bigger in America, but also seeing the similarities to UK festivals. Realizing it’s just a bunch of film geeks like myself sitting in a dark room watching movies, then going to the bar and talking about them afterwards.  It was my first time in Colorado. In the same trip we hit ScorpiusFest and Durango Film Festival, so it really felt like we were taking Don’t Bury It on tour and introducing Americans to some of the quirks of British humor.  I was worried people wouldn’t get it, but pretty quickly into the screening I realized those quirks mostly consisted of people falling over and things that sound like fart noises.

Scorpius: What can you tell us about any future projects which may be in the works?

Fitsall: Can’t say too much at this stage. I’ve been writing a lot, and David – the producer on Don’t Bury It – has been reading scripts. We think we’ve decided what the next couple of projects are going to be.  I’m hoping to get one shorter made, then move on to something bigger. But it’s too early to jinx anything by giving it away just yet.  I also film a lot of music videos between projects – recently, mostly for my own music under the name 0121Kristie. It’s a great way to experiment with new visual styles and do things you couldn’t get away with in a standard short film. They’re all on YouTube if anyone wants to check them out.

The post Kristian Fitsall is Blowing Up on the International Film Festival Circuit with ‘Don’t Bury It’ appeared first on Scorpius Magazine.

Jakob Rippe discovered his affinity for filmmaking as a child growing up in Southern California. As an aspiring young filmmaker, he created content for brands such as Bell helmets, Sony Music, and Porsche North America. He has also worked with multi-platinum record producer Kiddominant. With ten short films under his belt, he has currently been surfing the film festival circuit with his latest film, ‘One for the Road,’ which was a huge hit with audiences at Scorpiusfest 2026 in Boulder, Colorado.

Scorpius: When did you realize you wanted to become a filmmaker, and what movies and directors were the most influential on you, from an early age?

Rippe: I knew from a very young age, probably four or five, that I enjoyed making videos and showing them to friends and family. I was also obsessed with the gear used when making movies, seeing the water towers when we would drive down the freeway in Burbank, or meeting anyone from television (especially newscasters) in person. Oddly enough, I feel that despite my past and current work, filmmaking is an ever-elusive dream that I will continue to chase. I know I’m doing it, but I rarely FEEL like I’m doing it. The movies that inspired me as a kid range from Pixar’s Cars to That Thing You Do! By Tom Hanks. Those were (and still are) two comfort movies that bring together my love of 50s-60s design with a heartfelt connection between characters. One director who has always been impactful to me is the late John Hughes. His way of capturing life, especially during those transitional teenage years, is something that will always feel timeless and relatable to many. His humor and writing style captivated me from the first scene and left a lasting desire to rewatch his works over and over again.

Scorpius: What are some impressionable experiences early on in your life that had a powerful impact on you as a storyteller?

Rippe: I’m not sure what the experiences were, but I know they are there. There are strong themes of longing for connection, struggling with loss, and fear of the unknown throughout my work, yet I can’t seem to place any specific impactful moments that would have caused such a traumatic response. It could be a subconscious reaction to the world around me, as I’m always observing my surroundings and absorbing energy near me. I’m an empath. It could also be a culmination of events that, while small individually, created patterns early on in my mind. On the more uplifting side of this, I do know that my ventures into storytelling came from a place of wanting to explore the world and other people’s experiences in it. Storytelling has always been a way to have fun and build experiences, regardless of where I am or who I’m with. A crucial factor for this is being an only child with a busy mind that was always running at full speed when I was little.

Scorpius: What can you tell us about the first film you made when you were six years old?

Rippe: That takes me back! It was called “Year by Year” and was more or less a collection of home videos I made that aimed to show what childhood was like as a kid growing up in Orange County, California, in the early 2000s. My parents were very trusting and let me use the family camcorder to film myself doing all kinds of goofy things. Was there any storyline? No. Did any of the segments make sense to anyone besides me? Also no. A few of my friends from school thought it would be cool to “make a movie” and wanted to pitch in too. We had dreams of a major premiere. One friend even learned to use WordArt to make tickets. Hahaha! Fast forward about a year and a half later I made my first real short. It was about a farmer, a werewolf, and a maiden in distress. I had wanted to make a fun movie for Halloween, so my dad and I wrote a short story. When it came time to film, my dad worked the camera and editing software, I played the farmer and werewolf, and my mom played the maiden in distress. It actually came out pretty good, considering how archaic the editing software was in those days. It took a couple of hours to export the four-minute video in 480p!

Scorpius: Which film that you have produced would you consider your personal favorite and why? Some memorable experiences while producing it?

Rippe: I’ve had fun with just about every project I’ve produced, but my favorite probably has to be a short called “Anniversary”. The story itself is tragic- a man falls asleep at the wheel, resulting in a crash that kills his fiancée on their anniversary. He has to live with the grief of knowing that his action, while an accident, took the love of his life. The “anniversary” now plays a painful juxtaposition to the pure joy of being in love and the harsh emotions behind an abrupt loss. The reason this film was my favorite to produce came from the circumstances behind making it. I was in my senior year of college, and this was my thesis film. It also happened to be April 2020… in the midst of the global pandemic. I shot almost everything myself, which forced me to think creatively. I wanted a thesis film to be proud of, so I didn’t compromise with lighting, sound, or camera movements. I would set up a scene by tearing apart a room in my house, decorating the set so that it would fit the character, prop a boom pole overhead using lighting stands, and adjust the balance on the tripod to get gravity to gradually tilt the camera, creating motion. I had one scene that required a prop to land a specific way. After a few attempts, it was clear that getting this effect naturally was going to be virtually impossible. I reconfigured the prop to increase the weight on one side so it would fall perfectly with every take. I also experimented with green screen and chaser tube lighting to create a moving picture car in my backyard. It was far from perfect, but I created something that would have been impossible without perseverance and creativity. When I first sent the script to my professor, she asked how many people I expected to have on my crew and how I intended to film it during the pandemic. I smiled, naively, I may add, and said I planned on filming it all myself and told her some of the tricks I was going to use to bring my vision to life. She wished me well, but strongly advised that I choose an easier story to tell. I’m glad I was stubborn and stuck to my initial plan.

Scorpius: What is your favorite aspect of cinematography, and who have been some of the most influential cinematographers in your life?

Rippe: A few cinematographers that come to mind right off the bat are Linus Sandgren, Robert Richardson, and Roger Deakins. Linus has such a unique way of pushing the boundaries of what cinematography can be with camera movements, especially his practical transitions that create beautifully complex motions (Check out his work in the behind-the-scenes documentary of Jay Kelly to see how complex these motions can get). I am a huge fan of collaborative work between a director and their cinematographer. Linus’s work with Damien Chazelle in La La Land and Babylon are great examples of how two creative minds can flow into a gorgeous final result. Robert Richardson is also a great example of how a cinematographer and director can work well together. His work with Quentin Tarantino is proof that collaborative effort is the best superpower for pushing the limits of art and creative expression. Roger Deakins’s work is simply gorgeous. I don’t know how else to describe it. 1917, Shawshank Redemption, and Fargo – these are just a few examples of how cinematography can truly inspire me. I’m also a huge fan of directors who aren’t afraid to grab a camera and shoot their own films. Steven Soderbergh, Robert Rodriguez, and early Quentin Tarantino films are next-level inspiration to me because they prove that a kid with a camera and a dream can create stunning films that captivate audiences and launch careers.

Scorpius: What did you like best about your experience at ScorpiusFest?

Rippe: Everything was great. I don’t know if I can pick one specific thing that stood out above the rest. The staff were all super friendly, the discussion panels were helpful and interactive, and the filmmakers and their projects represented a wide range of genres, styles, and themes. Put all of that in an awesome venue in beautiful Boulder, Colorado, and you have a winner! This was my first time in Boulder, and I absolutely fell in love with the small-town charm. One of the things I loved was that it was a small enough festival that everyone was approachable, but large enough that every screening was virtually sold out. I haven’t experienced that degree of audience interaction and filmmaker involvement in any other festival I have attended. It was such an exciting feeling, the buzz of the crowd during Q&As after each screening, and getting to meet and talk with the filmmakers following each film block. Lots of great networking with filmmakers from across the country all weekend long. I’m already making plans to attend next year’s festival!

Scorpius: What can you tell us about any future projects that may be in the works?

Rippe: I don’t currently have a project in production or post, but I do have a few projects nearing pre-production. I am always writing and love to bounce ideas around with fellow writers and directors. I hope to direct a short this summer with some friends; we have a few ideas for stories that we would like to create. One of the cool things about my passion for writing is that I’m never far from a story that we can turn into a film! I really do need to get back out there, though, and produce more of my own projects. Lately, I have been working a lot on client projects, which has been great, but nothing compares to making my own films with my friends!

Scorpius: Is there a dream project that you may have always wanted to direct?

Rippe: I have several. There’s a list of actors, composers, and cinematographers that I would love to work with. I could probably take up a whole separate interview on who that is and why I chose each artist on that list. In terms of projects as a whole, there are two main ones in mind. One is a period piece set in the 1920’s about a mob family. I don’t currently have a full story or script in the works, but I do often find myself worldbuilding the city, characters, and motivations behind their crimes. The second project is much less complex, but would still be a challenging task in its own right. It’s an action film that honors my great aunt and uncle, who lived in San Clemente during the rise of surf culture. I have an outline for the story, but I want to dive in (pun intended) a bit more before really getting into the writing process. It would be set in the present day, but talk about the lifestyle and mentality that came to be during this pivotal time in Southern California culture.

Scorpius: Is there a particular muse or driving force behind your work as a filmmaker, and what is it?

Rippe: One particular muse? No, I don’t think so. I take inspiration from the world around me, and my mind is always running with ideas of “what if this?” or “how about that?” Inspiration comes from music, the news, people watching, personal experiences, and even other films. I think from a more technical standpoint, I push through moments of professional challenges to be a role model to my younger self and pursue goals that I have dreamt about since I was a child. From a director’s perspective, once I’m heading into pre-production, my driving force is to create an environment where the cast, crew, and anyone who may be impacted by our shenanigans feels informed and respected. I want to prepare enough on the front end that everyone who works with me feels confident in the project and can be proud of the work we do as a team. It’s never been “look, I’m the director, I’m in charge” to me. Yes, I have to take control and make decisions that affect everyone on set, but I am always willing to collaborate, hear differing ideas, and admit when I’m wrong or when someone has a better way of doing something. That, to me, is when the best art is made.

Scorpius: If you could leave one word of advice for younger filmmakers, from your experience, what would it be?

Rippe: Fascination. That’s the one word of advice. The longer explanation behind that is to try your hardest to keep that eager spark that excites young children with nearly everything in their lives. Keep that sense of wonder, hope, and optimism about the world and the people you meet. Things can be scary; it can be so easy to fall into anger, fear, or loneliness, but try to fight those negative feelings. Keeping an open mind to the places I’ve traveled, people I’ve met, or experiences I’ve had has really allowed me to view the world in multiple perspectives- and that is crucial to the creative process. From there, if there’s something specific that interests you, chase that dream. Whether it’s filmmaking, music, writing, restoring cars, playing a sport, cooking… ANYTHING you enjoy doing is worth doing, even if others don’t like your style or you aren’t recognized for your talents. It doesn’t always have to be your career, either. I’ve known too many colleagues who have forced themselves on a steep, slippery slope to making a career out of their hobbies until they experience massive burnout. It’s okay to do something for the love of doing it; not everything has to be for profit. As long as you keep that fascination, hold onto an open-minded sense of wonder, and pursue your passions, you’ll live a pretty satisfied life.

The post Jakob Rippe Is Creating Waves in the Industry with His Unique Style appeared first on Scorpius Magazine.

Ryan Russo began his inspired journey as an independent filmmaker from the origin of visual storytelling. He has since garnered multiple awards from around the world for his exceptional films as well as gained international recognition for his innovative filmmaking prowess. His recent film, ‘Boiling Point’ is stirring conversations among audiences and filmmakers throughout the industry.

Scorpius: When did you realize you wanted to become a filmmaker and what movies and directors were the most influential on you, from an early age?

Russo: It’s hard to pinpoint a single moment, it was more of a slow realization. I grew up obsessed with practical special effects and history. I’d spend hours trying to recreate things I saw on screen, whether it was the mechanics of a gunshot effect or the details of a historically accurate uniform from a period film. That curiosity was really my first entry point into filmmaking. I was also watching films at a pretty young age that I didn’t fully understand yet, but that almost made the experience more impactful. I wasn’t focused on the plot as much as I was on the atmosphere and immersive setting. I became especially drawn to period pieces, drawing inspiration from directors like David Lean, Sergio Leone, and George Roy Hill.  Films like Barry Lyndon, Doctor Zhivago, and The Sting really struck a chord with me. What stayed with me wasn’t just the storytelling, but the visual language and the attention to detail. Seeing shots and sets that felt like they were drawn directly out of a painting was something that completely stopped me in my tracks. That sense of visual storytelling has stayed with me ever since and continues to be a major source of inspiration in my own filmmaking.

Scorpius: What are some impressionable experiences early on in your life which had a powerful impact on you as a storyteller?

Russo: Some of the most formative experiences for me early on weren’t tied to a single moment, but rather to repeated exposure to stories and worlds that felt completely different from my own. I never really felt particularly connected to the modern world or contemporary films, so I naturally gravitated toward stories set in other times as a form of comfort and escape. A lot of that was shaped at home as well. My Dad would often have mob films playing, and I would watch them with him, taking in those worlds without fully understanding everything at the time. My Mom, on the other hand, would put on English period pieces, which further deepened that fascination with history and distant eras. My Mom was a painter, and she always made a point of taking me to art museums and galleries wherever we went. She continually encouraged my creative interests, and those experiences definitely played a big role in shaping the filmmaker I’ve become today. I think that early exposure to visual art is still at the core of how I approach filmmaking. In every film I direct, I try to emulate a certain painting within a frame, whether that’s through composition or production design. For example, the opening shot of Boiling Point was directly inspired by Gennady Dobrov’s Farewell Glance. That kind of reference point helps me ground a scene visually and emotionally, and it’s something I continue to draw from in my work.

Scorpius: Where did the inspiration come from for “Boiling Point”?

Russo: Boiling Point started as a joke in passing I had with a friend about how ridiculous the concept of cockfighting is, and how it could become even more ridiculous. That conversation slowly evolved from aggressive betta fish, to crabs, and eventually, after someone in a bar drunkenly told me crabs were “too pedestrian,” I landed on lobsters. Watching films by Chaplin, Keaton, and Chaney really inspired me to challenge myself and the team to rethink the approach entirely. What had initially been written as a contemporary piece gradually shifted into a silent, period-inspired film. Telling this absurd story through the language of silent cinema felt like a way to heighten both the humor and the challenge. It allowed the story to lean even further into its own strangeness, while also pushing us creatively in terms of performance and visual storytelling.

Scorpius: Which film that you have produced, would you consider your personal favorite and why? Some memorable experiences while producing it?

Russo: In all honesty, Boiling Point! It was the first film I made since high school, and the entire experience from pre-production through post was truly unforgettable. I had a great cast and crew, many of whom were friends and family, and I honestly couldn’t have asked for a better set experience. That being said, there were plenty of memorable moments along the way. After writing the script, we struggled to find a location that fit my vision. After exhausting most of our leads, my location scout and I reached out to a local fire chief in Sedalia, Colorado, to see if he knew of any spaces with a large, open interior suitable for the ring. He ended up taking us to a Christian youth retreat where he served as a caretaker. What made it especially strange was the history of the property. Before being converted into a retreat, the site had been owned in the 1920s by Diamond Jack Alterie, a hitman for the North Side Gang, rival of Al Capone’s Chicago Outfit. After being exiled from the gang, he relocated to Colorado and allegedly ran an illegal gambling hall and brothel out of that very building. It felt almost serendipitous that we were making a short film about an illegal gambling hall set in the same era, in a space that had once functioned in an eerily similar way. That connection ended up becoming one of the most memorable and unexpected parts of the entire process.

Scorpius: What is your favorite aspect of being a director and storyteller?

Russo: My favorite aspect of being a director and storyteller is the ability to build immersive visual worlds, especially when working within different time periods. I’ve always been drawn to visual storytelling and the idea that so much of a story can be communicated through composition, production design, and atmosphere before a single line of dialogue is spoken. There’s something really powerful about trying to transport an audience completely into another era that I strive to emulate when directing or writing. I love the process of researching, designing, and shaping every detail so that it all feels cohesive and lived-in. That kind of immersion is what excites me most about filmmaking.

Scorpius: What aspect did you enjoy the most regarding your experience at Scorpiusfest?

Russo: What I enjoyed most was the exchange of perspectives. Being in a room with both international and local filmmakers created this constant exchange and dialogue. I ended up having some really memorable conversations with a group from Great Britain after their film, and it was equally exciting to discover and connect with local filmmakers I hadn’t encountered before and would love to work with in the future. The entire event was put on wonderfully and I’m hoping that we’ll have something ready to submit for next year!

 Scorpius: What can you tell us about any future projects which may be in the works?

 Russo: We’re currently in production on a WWII psychological thriller titled Charcoal. It follows a young American GI in the aftermath of the Battle of the Bulge, as isolation and trauma begin to fracture his sense of reality after he becomes the sole survivor of his squad. This is a massive project that I’ve been working on for about 6 years, I’m very much looking forward to sharing it with the world and hopefully submitting to the next Scorpiusfest.

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By Steffon Olsen

Dark horse, independent singer-songwriter Harry Fields has become known as the “Outlaw Angel” in Las Vegas over the past 7-years, partly, because he’s helped so many people who have lost children at a young age, as he lost his daughter at a young age to a rare disease. As a singer-songwriter and live performer, his epic live performances on Fremont Street, the Strip, and throughout Vegas have brought him wide-spread acclaim in both the local and national consciousness.

Scorpius recently had the rare privilege of enjoying an unforgettable private concert in Harry’s own home in Las Vegas, wherein Harry performed some of his biggest hits as Derek Kennedy, his good friend/ music collaborator, complimented each of Harry’s songs with his signature ornaments and embellishments. After the concert, I had the chance to speak with the mythical independent icon and his friend in a rare interview.

Scorpius: Harry, what are some of the most impacting experiences, either sad or happy, from your earliest childhood, that have influenced your songwriting?

Fields: Grow’n up in Cedar Rapids Iowa, my dad was a great entertainer, he used to always play out at all of the bars. We lived in the hood and a lot of Motown players came through there, it was pretty exciting. I came from a big family and everyone played instruments. My cousins were pretty wild, they’d always get drunk and put a piano on a trailer and pull it down first avenue while one of em entertained the town.

We were very poor and my dad left us when I was really young. My town, Cedar Rapids, was a big music town, a lot always happening there. On Friday nights when my stepdad would take my mom out dancin, I’d fire up the color tv with the stereo full blast and listen to artists like Ray Price and Ferlin Husky and learned to sing all of their songs, an that’s when I realized that I wanted to be a singer.

Scorpius: Apparently, your grandmother was a well-known, local bartender and ran into a lot of Motown stars who came through town?

Fields: Yeah, she was a bartender in a famous bar.  When Nat King Cole would come through town, he would jump on the piano and play for the crowd.  My grandmother was 6’7, drank a fifth of whiskey a day, and could throw a full-grown man across the bar. Nat King Cole would smoke cigarettes and drink bourbon as he performed with a smile. One night, after he played a set, he approached my grandmother and asked, “Can I borrow five-dollars for a date and I’ll write you a check?” And so, she did and the check has stayed in the family ever since then.

Scorpius: When did you begin playing the guitar and writing songs and what was that era like in your life?

Fields: Well ya know, I always had that dream, and when I grew up over on the east side, on Oak Hill our house was surrounded by cemeteries. I’ve seen spirits, I’ve seen visions and I could see me on the stage ya know. When I was younger, I’d go down to the bar in the hood and a lot of famous people came through, ya know like Al Green and Gladys Knight. A lot of the upper Motown people had family there, so I’d go hangout there and shine shoes, so they’d let me go in the bar and set me on the bar and I’d be dancin and they’d say like, “This boy’s got rhythm!”

Then as I grew older, we moved to the other side of town and I’d practice playin and sing’n in front of the mirror by my closet as I honed my craft. Later on, I moved to Nashville and sold cars in a lot just outside of there. I’d always drive into town to see Johnny Lee and perform my songs. Over time, Johnny Lee and I became friends. I also had the chance to perform for a lot of the big names that would come through town, like Alabama.  One time I was at a venue in Nashville and a guy walked up to me and said, grab your guitar and let’s go out in the hall. And after we traded licks for a while, I noticed that he sounded like Waylon Jennings, and I asked him, “Are you Waylon Jennings?” and he said, “no, I’m his brother Tommy.” And he kept complimenting me through that night as I performed my songs.

Another time, I was playin in a corner of a famous bar in Nashville, raisin money for St. Jude’s in honor of my daughter who died of a rare disease and Tracy Lawrence was sitting at one of the tables. He had his manager grab me and bring me to his table and he told me, “Harry, I want to be part of anything you do!”  

Scorpius: Could you tell us a few of the songs that you’ve written, that have had the most meaning to you and why?

Fields: The most important song I’ve ever written, I wrote for my daughter, it’s called, “Fly Away.” She died very young of a rare disease and after she was buried, I cried over her grave every night throughout the following year. After some time passed, we had to have her moved to be buried next to my mother. When they were digging her casket up, it was rainin and once they brought her out the clouds rolled back, it stopped rainin, and the sun came out. Then when they relocated her to be next to my mother; on the day they buried her, it was raining again as they lowered the casket.

So that’s probably the most important and special song I’ve ever written. I was even gonna possibly have Tracy Lawrence record it.

Another one, the song that actually brought me here to Vegas is called, “Do It Again,” I’m a storyteller and have written a lot of songs but that’s another one that means a lot to me. It’s a powerful song and every time I perform it, the audiences’ feet get going and I have had so many fans tell me that they can’t get that song out of their heads. And I really keep’em moving when Derek and I perform together we really rock the crowd.

Scorpius: Derek Kennedy, what can you tell us about how you and Harry met and began performing together?

Kennedy: Well, we met at a party years ago in Nashville and then I didn’t see hide nor hair of him for a while after that. Then, sometime later here in Vegas, a girl I knew told me that she knew a solo artist who was looking for another guitar player to work with on a project, so we came to his house and Harry and I just started jamming together and before long we remembered that we had indeed met years earlier in Nashville. We’ve just been jammin and performing together in Las Vegas over the past three years.

Scorpius: Over the past three years of jammin together what can you tell us about the dynamics of your collaboration?

Kennedy: Harry and I have a pretty unique past; Harry basically writes the songs and I just try to interpret them and compliment them with my arrangements and guitar solos. We really have a lot of synergy that really add up to more than the sum total.

Scorpius: What can you tell us about what it’s been like raisin a little hell together?

Kennedy:  Well, first of all, Harry takes his guitar with him everywhere, and when I say everywhere, I mean everywhere! Everyone in Vegas loves to hear him perform. I gotta tell you it’s always an exciting experience.

Scorpius: Harry, is there one more really popular song that you’ve written that is also a personal favorite?

Fields: The other really powerful song and a favorite among my fans is “Drink’n My Baby Back Home.” It originated when I was goin down to Texas a lot, and damn I love Texas.” I made a thousand bucks on Freemont Street one-night playn that song a few times in my set, everybody loves that song!”  I love my fans and a big part of life is help’n other people and given’em their dreams back.

Scorpius: You were good friends with Stevie Ray Vaughan during the pinnacle of his career. What can you tell us about those times and do you feel that his style and spirit may have influenced your own songwriting and performance style?

Fields: Stevie Ray Vaughan was a very good friend of mine. We were in Austin, Texas and he was playin at Antone’s on sixth street, across the street from a venue I was play’n at, at that time. I met him originally through his brother, but I’d watch him perform years ago in my home town and he definitely, strongly influenced my playin. First time I’d seen him perform live, when I was younger, I said to myself, “That’s how I wanna be!”  Over time I’ve felt him helping me. I’ve died 9 times and every time I couldn’t get into heaven, cause I already made a deal with the devil but finally I’ve turned around and made a better deal with God. So I’ve felt Stevie around still help’n me.

Scorpius: How did you decide to continue your music career in Vegas?

Fields: I’ve got influential friends in music and in other areas of life and had some good advice on it and I also knew that Vegas would become the entertainment capital of the world and it has. 

Scorpius: What can you tell us about any upcoming projects?

Fields: Well, I’m gonna do songs as a tribute to Elvis Presley and Johnny Cash in the near future. I’m also gonna re-record and master my three top-songs I mentioned earlier for release in October of 2025. I’d also really like to find some kind of residency here in Las Vegas, in the near future.

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Ryan brought the zen with him everywhere he moved and naturally found himself surrounded by top-notch people. He found world-class musicians to perform with in multiple cities. And excelled in the business world. He found no shortage of attention from the ladies as he dated the likes of cheerleaders, athletes, and even an international runway model. He also carried on his family tradition of playing tennis tournaments and was ranked by USTA as one of the top 20 players in Utah for his high school age bracket. Having climbed to the top of so many different mountains and obstacles already, it’s no surprise that he’s quickly rising the ranks as a powerhouse musician.

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Scorpius: What can you tell us about where Midnight Records Productions began?

Rigby: The name Midnight Records originated from a band I was in back in the 80s called, “Us at Midnight”. I started recording the band practices with a Tascam Port-Studio four track cassette recorder and caught the recording bug. Later, I had a home studio in the living room, and it just kept getting bigger and bigger. My wife kept asking, “Is this going to take over the whole house?” ‘Rigby says with a laugh.’ I decided I needed to do something with all of the recording equipment so I talked with Derek Dyer, Executive Director for the Utah Arts Alliance, a 501c3, and asked if we could get a building downtown, where we could have both the art gallery and a recording studio. He said yes, so we rented the old Inkley’s building on Main Street, where the Eccles Theater now resides. We set up the art gallery in front and built a recording studio in the back. And that’s where Midnight Records Productions began 15 years ago.

Scorpius: You’ve signed and produced a lot of incredible independent musicians on your label over the years, what can you tell us about some of the artists, bands, who you’ve worked with, that stand out to you?

Rigby: I currently have 16 active projects. One of my favorites is Patrick Maloney, he’s a classic rock guy. He plays guitar and writes his own songs. He brings in some great drummers and bass players to record his project and sometimes Patrick will play bass himself. We turn up the amps to have a lot of fun!

I’ve also lately been working with a country/rock band called, “Bulletproof”. They perform at the Westerner a lot. They’re a really great band; we’ve recorded four songs and recently finished the mixing process.

I’ve also been working with a young singer-songwriter, Aaron Davis. He has played most of the instruments, including drums, on 12 Indie Rock songs that he wrote years ago and needed to get finished up.

I’m also working with a heavy metal band called, “Death Persona.” That’s been fun a lot of fun because I have a hard rock and heavy metal streak in me, ‘Rigby says with a big smile.” So, it’s great to get the ‘screamo’ going, loud guitars, as well as big bass and drums. So that’s thoroughly enjoyable for me.

I’ve also been recording a band named “Strawberry Cough,” they’re some younger artists who play the shoegaze rock genre. They’re fun, energetic guys and play all-original songs, it’s a different idiom in the rock vein and I really enjoy them a lot.

I’m also working with a young rapper, Caleb Marcy. He has a couple of producers who are working with him and a guy who makes killer beats. He’s an extremely talented young rapper. He writes really well, works really hard, and has a great personality. I think he’s got a lot of potential to really go somewhere.

Jake Martin is another incredible artist who plays Indie Rock, he’s really cool. Jake’s got a great voice and it’s really fun to record his music. He has written some great songs with really catchy relevant lyrics and addictive melodies.

Adrian Cassaba is another local singer-songwriter I’ve been working with. His father-in-law, Jeff Bryant is the drummer. Those guys have been really cooled to work with. They write all-original songs with poetic Dylan-Esque lyrics.

Night Crew is another original indie rock band that I’ve been recording off and on for a couple of years that shows real potential as well as My Friend Zero. Both will be back in the studio soon.

Marv Hamilton is a contemporary folk artist with a fabulous voice. We’ve just started recording violins and bass on a couple of his songs and we’re getting ready to begin working on a new blues song he’s written.

I’ve also been working with Kim K. Jones; she’s an artist manager and she’s bringing in some bands for recording services.

Lavish is an incredible female rapper I’ve worked with for several years and she’s getting ready to record some more new songs. She’s a great rapper with a ton of energy and a lot of really good songs.

J Knight is also another great rapper I’ve worked with for a while, who I’m hoping to see go far.

At the old Main Street studio, I worked with Max Pain and the Groovies, Lucid 8, Oh! Wild Birds, JJ Jennings, Whitney Mower, as well as many other very talented local artists.

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The biggest driving force behind their music is being able to connect to their audience. Each member of the band talks about how much the dedication of their fans means to them. “We want to do what our favorite bands have done for us,” Seth explains. Eric adds that he wants their songs to become the fans’ songs; he hopes that his lyrics will help listeners feel understood and that there is someone who recognizes their struggles. “Everyone has their own demons,” he says, “I’ve been helped most in my life through music,” and so Eric wants his music to be able to do the same for as many people who will listen. Lead guitarist, Jonny Tanner, says that he and the band will try to ask themselves, “am I loving my audience?” and, “am I showing the audience how much I care about them?” Steve Michaels, Eric’s brother and drummer for Foreign Figures, describes a recent experience that he had with a fan: “She approached us and said that she listens to music in her room a lot and writes down the names of the songs she likes the most. She told us, with tears in her eyes, that our music touched her heart and impacted her more than any other music she has ever heard before. She said it with so much sincerity and passion and you could feel how much she meant it.” The band members are all overwhelmed at the amount of people they have reached in Provo. Each of them talk about how they used to beg their friends and family to come see their concerts, but now all they have to do is post on social media to sell out a venue.

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