Falling In Love With the Movies With a True Cinephile: Deiva Motley | By /CW Guest Writer Jolee Mallmann

The first time I met Deiva was during my first or second shift at the Oriental Theatre on North Farwell. I had successfully avoided getting into a conversation with a coworker thus far until Deiva walked up to me at the box office and asked me how my day was. Immediately I felt more welcomed in that theatre than I ever had the dozens of times I had walked through the doors before. Deiva is the welcoming feeling you get when you walk into a historic theatre like the Downer or the OT. She is an incredibly clever person with a devout connection to her love for film. The list of movies Deiva hasn’t seen is much shorter than the list of what she has. Her knack for movie trivia isn’t something to be tested. 

Deiva has a background in film festivals, film programming, working on local film sets and she dedicates a generous amount of her time to Milwaukee’s local cinema community. There is something inherently important in supporting independent filmmaking, local cinemas and community-building through a shared love of movies; Deiva is one of a kind in the way she exists in all corners of the unique Milwaukee cinema community. For someone who grew up with a family featured in award-winning documentary films, as well as a deeply talented and well curated film programmer with a deeply impressive watchlist, Deiva remains humble and approachable, the kind of face you look for in the crowd. 

Talking with Deiva is always my favorite part of any given day and discussing films with her reminds me exactly why community and film go hand in hand. I had the pleasure of having her on the set for my own short film and the main thing I learned was I should have had her on my crew sooner. In every way Deiva Motley embodies her love for film whether it be in the love she shows for her local theatres, the support she shows on film sets or her own personal passion for movies.

Introduce yourself a bit! Where are you from and where are you living now? Do you feel like your experience growing up and your background with Milwaukee have an impact on the kind of movies you watch or the kind of projects you choose to be a part of? 

I grew up in Milwaukee, and then for a while, I lived in North Carolina, moved around a bit in North Carolina, and came back in the fall of 2021. My experience growing up here, I feel like it really had an impact on a lot of my movie watching. My parents were in college when they had me, and my dad was a huge cinephile. We lived probably a couple of blocks away from the Blockbuster that used to be in the plaza on Farwell, not far from the Oriental Theatre. Since the Blockbuster was within walking distance, I utilized the Blockbuster with my dad and watched a lot of movies there. And I think as a kid, I saw Milwaukee as more of my whole world and wasn't really fully aware that there was more world out there other than Milwaukee.

Anytime I watched a movie, I always thought that the movie was based on something that happened in Milwaukee, or at least in Wisconsin, since I didn't really travel much. These experiences impacted the way that I watched movies in terms of reaching my imagination and letting it fly a bit. Milwaukee impacted the projects that I chose to be a part of growing up. As an adult, I really reflect on those experiences and those feelings. Now being a part of the film community in Milwaukee, I'll say that it made me who I am. I want to be a part of projects that mirror those same experiences that made me appreciate Milwaukee for what it had to offer my childhood. It's almost like I'm paying it back for giving me a very fun childhood and allowing me to be more imaginative. 

What’s your favorite movie and why do you love it?
My favorite movie is The Truman Show. I feel like that was a culmination of a lot of things for me growing up. On some Sundays, my mom would just throw it on to wrap up the weekend and we would watch it together. It was a great movie to watch, and I remember cuddling with her while watching it. The subject being a reality show following a man around, I grew up watching a lot of reality shows, so it reflected a lot of the typical content I would watch with my family. 

Personally, the reason I love it is that it’s heartfelt. I feel that Jim Carrey’s character, Truman, is very relatable in the sense that he’s a nice guy who has done all the right things in life, but there is just something still missing for him. A lot of us feel that way; I know I’ve felt that way a few times in my life growing up and well into adulthood. Seeing Truman and being able to relate to that, and seeing him get out of it, is something anyone can look up to. Not knowing if it works out for him or not but at least he wants to try to see where it takes him really resonates with me.

What role do you feel local cinemas play in Milwaukee? Do you feel like the art of movie watching can have an impact on a community? 

I feel like the art of movie-watching is definitely important for a community. It's generic, but it does bring a community together because, again, a lot of people have different interests and backgrounds that an individual could resonate with in any movie. I feel like movie watching tends to bring people together in the understanding of different identities, backgrounds, and nuances of interests. A movie, just like books, can really expose people to backgrounds they aren’t usually used to seeing every day. With that, coming to local cinemas brings communities even closer, especially in Milwaukee. Milwaukee is such a tight-knit community, specifically for a city of the size that it is. 

It’s like bumping into someone random on the street, apologizing, and realizing five minutes later they play chess with your aunt every Sunday. I’ve met so many people through chit-chatting with strangers and getting to know them through different families, and they end up telling me the last movie they saw at the Oriental Theatre. Milwaukee is rich in history, and so many people in our communities have ties to our local cinemas.

You’ve had a lot of experience as a film programmer, what is your philosophy when you approach programming films? 

My philosophy is that I am motivated for people to watch movies - that they feel seen, or heard or that they can relate to. Movies that pique people’s interests or touch on subject matter a person wouldn’t come across on their daily basis. 

For example, years ago, when I was in college and I was the student body general film programmer, I programmed a week long retrospective on: why is it that it’s always women in horror movies that are demonically possessed? It was college, so a smaller audience than I had hoped for, but I did have one of our film professors that had a course on horror movies come out for a screening. It definitely helped me look at those tropes in horror movies differently. Topics like that I like to touch on and allow other people to be able to dive in and think about themselves. 

Anyone who knows you, knows you’re a major cinephile. What are your favorite kinds of films to watch and why?

I would prefer to watch films that think outside the box or that are kind of their own genre, which people have a hard time describing or figuring out where to place them. Those are the kinds of films that I like to watch and always gravitate towards. For example, In the Mouth of Madness is a horror movie, but I think it can also be argued that it's a fantasy movie. It plays with themes of what happens when someone's writing or someone's art starts coming true and how that affects other people or reality. As I watch it, I honestly question, "Okay, is this real or is this fake? Are we in the character's head and experiencing what he experiences, or is this just something that's actually happening?" I love those movies. I love films that make you question whether or not something is happening.

How did your involvement in the world of documentary film from such a young age shape your understanding of the world of film?

Being in high school while my mom was being filmed in a documentary about her work and then having that bleed into my college years when my father was filmed about an unfortunate incident that happened in his life at that time, it thrust me into the world of film a little bit too fast, especially for that age. I was always a movie lover; you would see me watching more movies than TV shows. I had never thought I would be part of a story like that, let alone be filmed myself. It showed me how many moving parts go into a film, especially a documentary. When it came to the world of film, the general thing it taught me was about timing. You really have to be there at the right time, or you’ll miss the shot, or worse, miss the story.

I couldn’t grasp that a lot of the things that I was doing at home were being filmed, especially in high school. Cameras would be in my home, in the living room, and I had to act like I wasn’t nervous to share about my day, and I was a little self-conscious to be on camera. My parents were very mindful, even though my siblings and I were excited to be in a movie. My parents were thoughtful to keep our childhoods in mind with school and sports; too much of it would cause us to start avoiding things.

The directors of both documentaries were very respectful to us as children, and as an adult, I am thankful now for some things being filmed not making the cut. I’m glad I can have some of those touching moments more to myself than being in a hard copy for anyone to see at any time.

You’ve worked for film festivals, iconic theatres, been a documentary subject and now you’ve taken the leap into working on local film sets. What is it like working in local film and what have you learned from your time on set?

My experience working in local film has been honestly really great. I’ve met a lot of different people. Not only have I met a lot of people, but I’ve learned little things from each of them—what their little thing is, their expertise, and being able to ask everyone questions. Working in local film, I’ve felt like a novice, but everyone I have worked with has been so welcoming. What I’ve learned from my time on set is mainly just different aspects of filmmaking that, combined with my background, I could expand on to hone different skills while continuing my path to becoming a part of making more films around Milwaukee.

What are you looking forward to next in your career in film? Do you have any projects in the works or things you’re excited to try next?

I’m still trying to get my footing as far as filmmaking with larger crews but what I am looking forward to in the next year is more opportunities to learn and expand. Whether that’s through filmmaking or film programming. Whether that’s locally or with new festivals. 

The thing I’m most excited about in film is just to watch more movies! Especially Werwulf Robert Eggers 

Find Deiva’s insane watch list over on letterboxd:

letterboxd.com/deivadeivs/

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Into independent film? Want to learn more?

JOIN US FOR AN ARTIST PORTRAIT “PARTY” | FUNDRAISER EFFORT FOR COPYWRITE

ARTIST PORTRAIT “PARTY” | FUNDRAISER EFFORT FOR COPYWRITE  

A COMMUNITY EFFORT CURATED BY /CW GUEST WRITE JOLEE MALLMANN 

W/ AN AFTERNOON OF PORTRAITS, MUSIC & MORE

Milwaukee, WI — CopyWrite [Magazine], Media, & Design LLC invites our Milwaukee community to join us for a vibrant afternoon of creativity and connection at our Artist Portrait “Party” | Sunday Fundraiser, taking place Sunday, November 9th from 1–3 PM at /CW Creative Studios _ Shop  2201 N. Dr. Martin Luther King Drive, Milwaukee, WI 53212 [entry on Garfield Ave]. This special fundraising event will feature DJ’d music, photo experiences, and community engagement — all in support of CopyWrite’s mission to uplift and amplify Milwaukee’s creative culture.

Recently, CopyWrite’s Owner/Active Editor-in-Chief, Lexi S. Brunson,  released a series of video reels [& a written statement] announcing that the Milwaukee-based media company's decade-old publication, “CopyWrite Magazine,” would end its “quarterly” publication production with Issue 22 | The Vision. Where this came as a shock to many creatives, organizations, and community stakeholders, Lexi has noted that a decade of mostly unpaid labor, a change in community value of the written word, the operational budget funding disinfranchisement of Black & Brown business owners, and personal health capacity all added to the decision. With the economic climate for the creative economy taking a forecasted decline, CopyWrite must also decide if its creative media hub in the heart of Bronzeville can sustain staying open. 

However, some community members see this as an opportunity to actively support /CW’s efforts by volunteering their own talents to curate the Sunday Fundraiser event. Jolee Mallmann, a guest writer for copywritemag.com, focusing on up-and-coming local filmmakers and film projects, reached out with the idea to create a fundraising effort to support /CW’s work and contribution to the community.

“It’s heart-warming to know that there are still creatives, like Jolee, who care and see the value of the work we do. CopyWrite has always been a vehicle to serve our community, whether that be through the Magazine, the website, events, or the studio. I’m not sure if people really understand how many doors we banged on, rooms we shook up, and dialogues we have been in about supporting Milwaukee’s creative economy. We can’t survive on social media likes, we can’t always count on philanthropy, we can’t do everything for free, and still stay around for years to come. We want to continue to support our community, and donating to fundraisers like these will help us continue to do that. But more importantly, we would love our community to actually pay us for the services we offer. We have never strayed away from hard work, and never will.” - said, Lexi S. Brunson

Guests will enjoy portrait sessions from an incredible lineup of local photographers, including SPTMBRBORN, Natalya Cook, Krystyna Nicole, and Jolee.jpg. The energy will be curated by DJ Chad, who will be spinning throughout the afternoon.

A $10[+] donation is required for entry, with all proceeds going directly toward sustaining CopyWrite Magazine’s community-driven media and creative programming. Anyone can donate via our online portal:  https://checkout.square.site/buy/K6BCGCPIXN6TCQYHE4QV4EN4 

All other interest in supporting CopyWrite, media inquiries, and more  can be emailed to copywrite.mke@gmail.com | Attn: LexI

We look forward to hosting the community at /CW Creative Studios & discussing how we can collectively keep moving the needle forward. 

Paving Your Way In The Film Industry With Tyree Pope | By /CW Guest Writer Jolee Mallmann

I met Tyree Pope years ago while we were both students in the Radio-TV-Film program at the University of Oshkosh Wisconsin. While we were taking classes and learning how to enter the film industry, Tyree was already working hard on developing his own creative projects. When I moved to Milwaukee looking for media work, I realized just how much of the film and television industry in the city was saturated with UWM film graduates. It was hard to find work on sets and break into the scene here with a background outside of the city. When I looked around for fellow graduates trying to make their way in the industry, Tyree consistently stood above the rest. 

The difference between someone like Tyree and creatives who gave up on trying to make Milwaukee work for them, is the purpose and the drive to just do it no matter what. Tyree Pope developed his own podcast series Kickin’ It With Tyree back in college, and carried that project and many others through to higher levels as his own career in filmmaking began to flourish. He didn’t wait for the world around him to be ready for his work, he made it happen and in doing so the industry caught up to Tyree where he was at. His drive, creativity and vision brought him to working on press for Sundance Film Festival, developing his own Comic Book series Fair Fight, covering festivals like Rolling Loud and securing interviews with filmmakers like Jesse Eisenberg. 

When I look at filmmakers and creatives like Tyree, I think about how it takes a genuine love for the game to secure longevity in the world of film and media. You can wait for the world to choose you and be disappointed until it’s finally *your time* or you can choose yourself, make it happen and let the world realize what they were missing before they saw your spark. Tyree was going to shine regardless, Milwaukee was just clever enough to let the light in.

Where are you from originally and where are you living and working now? Do you feel like any parts of your upbringing have stuck with you to this day as a filmmaker?

I’m from Milwaukee, Wisconsin, and that’s still where I live and work today. Growing up here shaped the way I see the world, the way I walk, the way I talk. It's a city that carries a lot of history, culture, and challenges. Also with going through art school here as a child. Those experiences definitely stuck with me and informed the kinds of stories I want to tell as a filmmaker, especially stories rooted in community, authenticity and just truly being unapologetically yourself at all times.

You went for film at UW Oshkosh and now you’re working out of Milwaukee. In your experience what is the culture of filmmaking like in both of these cities? Any similarities or major differences? 

UW Oshkosh was where I learned the fundamentals and experimented without fear. I didn’t get the support on my projects from the film community in UWO as much as I wanted so I made it my journey to do it on my own. To make these ideas happen whether it had the support or not. It was a great space to experiment and grow though and find what avenues I wanted to go down. Milwaukee is more about collaboration and building with other creatives who are just as hungry. The biggest difference is that Milwaukee has a tighter community feel and people really rally together here whereas Oshkosh felt more like a learning environment. I expected most people in the film program to never pick up a camera again honestly.

You do work in animation. What inspired you to start Fair Fight Comics? What has the journey of bringing that project to life been like?

Fair Fight Comics came out of just pushing myself to tell the story that was in my head as I sat in bed in Taylor hall at UWO. Originally as an animated pilot script and developed into a comic book later on. I’ve always loved comics and animation because they let you create whole worlds without limitation. The journey has been challenging but rewarding building a universe, developing stories, and slowly seeing it all come to life has been like planting seeds and watching them grow. Fair Fight Comics will continue to grow and flourish into new avenues even if that avenue isn’t comics.

How did you get your start in filmmaking and what was your inspiration to start in the first place?

I got my start in film by being a writer and writing stories. I wrote my first short story in 7th grade at Lincoln Center of the Arts and always wanted to do something with writing and creating something people could identify with. I’ve always felt somewhat of an observer of the stories around me and the things I’ve learned that have happened throughout history whether that be through mythology or religion. I think about how I can tell the lost stories of our ancestors in a modern way. As far as behind the camera I started with photography and understanding the frame and moved into how I could tell a story within a frame. Then I started thinking about how I could help artists like me and I created Kickin’ It with Tyree and that opened the doors for me creatively and is still opening doors for me to this day with over 100 interviews. My inspiration was always the creating ideas that film could move people, create conversation, and spark change. I may not be the flame, but I can be the spark.

What is your favorite genre of films to watch in general and what are your favorite kinds of films to make?

I watch a little bit of everything. I love old films from Double Indemnity to Cooley High. I watch horror movies, comedies, thrillers, coming of age stories. I love making genre movies and creating things based on a specific genre and feeling I am trying to provoke whether that be fear, hate, love, happiness or sadness. The science of provoking emotion is something I’m always working on and there’s someone out there that wants to connect to that and see themselves in something on screen.

You’ve worked on multiple local short films, features and series. What are some of the projects you enjoyed working on the most and why? 

Every project has taught me something, but working on my short film AL taught me that not everything is always going to be perfect and the way you set out for this film to be in the beginning is not always how it’s going to end and the way I was able to flip the script, rewrite, and cast the week before shooting showed me how quick on my feet I can be in tough situations like that.

What’s your favorite role to play on set and why?

Directing is where I feel most at home. I like being able to see the big picture while also working closely with actors and crew to bring out the best in everyone. It’s where I get to merge vision and collaboration. In most of my projects I have had to become producer, editor, director etc. So I feel comfortable in the chaos of most roles.

Who are a few filmmakers you find major inspiration in? 

Spike Lee for his ability to create a moment and have you live in it. Do The Right Thing is a moment in time that when you watch the film you're engulfed in the time, place and the now. Rick Famuyiwa for his ability to tell coming of age stories from The Wood to Dope about young black men from the hood that didn’t involve tragedy and heartbreak but overcoming their environment and excelling, falling in love, pursuing education in spite of that. Micheal Schultz made Krush Groove the film that I watched time and time again as a kid, Cooley High one of the first films I remember watching and loving as I watched over and over again, Car Wash, The Last Dragon! His influence in African American filmmaking is and will always be felt in our stories and creations.

Do you have any fun memories from working on film sets? Could you describe any challenges or learning experiences from your time on different sets?

Some of the best memories are just the late nights when everyone’s tired but still laughing and pushing through. Challenges always come up, things not going as planned, weather messing with shoots, but those moments teach you adaptability. The biggest lesson I’ve learned is that filmmaking is problem-solving in real time. Cause if it can go wrong it will.

Do you have any advice you’d give to the younger version of yourself who was first starting out in filmmaking?

Don’t let anyone, even yourself, put you in a box, just because you are doing weddings right now or making music videos or podcasts. Doesn’t mean you have to stay there. You are allowed to expand and create with the freedom you once had as a child. Don’t let anyone take that joy and love for film and creating away from you.

If you see it, you have it. Just go out and take the steps to grab it. Some things take time, but with time comes experience, connections, and lifelong collaborators that you’ll go through the fire with. Go to film festivals, don’t be a hermit. Find a way to make the things you want to make even if you have no one to make them with.

What are you looking forward to next in your career in film? Do you have any projects in the works or things you’re excited to try next?

I’m excited about continuing to build Lake $hore Dreamers and take projects to a larger scale. I’m working on a couple of scripts for TV shows and Feature Films that I want to take on in the next 1-2 years. In the meantime, I am working on producing short films that I wrote in the spring, an animated short. Then the end of my comic trilogy Fair Fight Vol. 3 which is in production as we speak. I am also taking on animation myself and attempting to learn it and produce works on my own.

Where can we find your work?

You can find my work through Lake $hore Dreamers. Website coming soon, but in the meantime, you can follow me on Instagram @tyreepope3 for updates, behind-the-scenes, and upcoming projects.

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Into independent film? Want to learn more?

Being The Kind of Artist You Want To See In The World with Rodney Johnson [Sptmbrborn] | | By /CW Guest Writer Jolee Mallmann

The first time I met Rodney for a portrait shoot, I realized I was working with a genuine individual, someone dedicated to their craft above all else. If you’re looking for another portrait session similar to the rest, Rodney just isn’t the photographer you want. However, for those looking for a photographer, artist and filmmaker with a true passion for their projects, willing to take the time it requires to develop original work, he’s the man you’re looking for. 

In his own studio, Rodney is a craftsman of lighting and color. He works precisely with lights, posing and color schemes in the studio in a way that the outcome can be seen immediately on camera. Having worked with Rodney outside of his studio for portrait events and my own short film, I realized how lucky I am and our community is to have an artist amongst us willing to share his talents for the betterment of the passions of others. It’s very rare that you find an artist with such a strong individual vision who is still more than willing to lend their skills to a project entirely separate from their own body of work. Rodney is more than an artist, more than a photographer or filmmaker. Rodney is Sptmbrborn and his work is selfless, one of a kind and bursting with confidence in creativity. 

If you had to describe yourself as an artist, photographer and a filmmaker, what would you want people to understand about your work most?

We're doing it all ourselves by any means. There's no conventional way of getting my message out there and it's made with a community in mind.

How would you describe the aesthetic of your work?

Intuitive and surreal. Imperfect and genuine.

What projects are you currently working on?
My solo gallery and a few art books! Getting back into my graphic designing bag. I want to make posters.

What's your favorite part about being a photographer and artist?

Bringing people into my world; Sharing the experience of creating. I work with so many people that aren't artists at all and it inspires me.

Who are some filmmakers that have significantly influenced your work?

Edgar Wright, Ben Stiller, Sam Raimi, Wes Anderson, David Fincher, David Lynch, Ari Aster, Robert Eggers. Too long of a list to be honest. I draw a lot of influence from everything I consume though. Try to be intentional about what you watch.

How has your art evolved over time?

It's grown in depth. My motivation lies in a curiosity to figure something out. The better the tools I've gotten, the more attention to stuff I can kinda pay, and it shows.

Where are you from? Do you feel like your community influenced your work as an artist?

I was born in Gary, IN but I grew up here in Milwaukee. My work is mostly inspired by the people around me. There is such diverse talent here that lends experience to consume. How do you not exchange for that?

Where do you like to find yourself on set the most, what is your favorite role as a filmmaker to play?

I enjoy being a gaffer. I've only been that or a cameraman on sets. 

What are some lessons you’ve learned as a photographer and artist you’re willing to share with our audience?

Don't be afraid to take a risk. Print your work. If you like it someone else will. Embrace the energy around you. 

Find more of Rodney’s work:

Instagram/Threads/X/VSCO @sptmbrborn 

Print Shop sptmbrborn.darkroom.com

Website sptmbrborn.xyz

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Into independent film? Want to learn more?

Taking A Look At KayCee Kelsey’s Self Made Media Empire | By /CW Guest Writer Jolee Mallmann

I first met KayCee by a lucky coincidence. Her series Rise To Fall was shooting a club scene and I had the opportunity to join production helping with a bit of set design. By the end of the shoot I was having a blast playing a bartender and finding myself enraptured with the environment KayCee had created with her cast and crew. KayCee is a writer, director, actor and the type of person you wouldn’t be able to stop from moving forward if you tried. There is a truly joyful energy present whenever you’re around KayCee but she has this ability to lock in at any moment when she needs to make something happen. After binge watching season one of Rise To Fall I had this feeling I’m sure many people who have worked with KayCee must get, that this is a woman in the industry who is moments away from being discovered. KayCee knows she has exactly what it takes but somehow she stays humble and giving, bringing her talents to multiple Milwaukee productions while building her own media empire at the same time. Through her work she’s built an amazing audience and fanbase who flock towards her light; we’ll be watching for more from KayCee and for the day she gets all of the flowers she deserves. 

Where are you from and where are you making films now? 
I'm a Milwaukee native, born and raised, and I create films throughout the city and surrounding areas.

If you had to describe yourself as an artist and a filmmaker, what would you want people to understand about your work most?

As an artist and filmmaker, my work is rooted in authenticity, intention, and impact. I don’t create just to entertain—I create to communicate something deeper, whether through a short documentary or a dramatic narrative. I'm not afraid to be hands-on and encourage others to be involved as well. I thrive on helping others bring their visions to life, and I’m passionate about creating open, collaborative sets where people from the community can come together, contribute, and pursue their own dreams. Community is at the heart of everything I do, and that’s the most important takeaway I want people to have from my work. I believe storytelling should feel personal, cinematic, and emotionally resonant. I believe storytelling should feel personal, cinematic, and emotionally resonant—the kind of work that stays with you, not just because it looks good, but because it means something—something bigger. Something that speaks to shared experiences, inspires reflection, and connects people beyond the screen.

What projects are you currently working on? Can you tell us a little bit about the series you’ve created, Rise To Fall?

I’m currently working on the second season of my series Rise to Fall, a music drama that follows the story of a woman named Zion who steals her ex-boyfriend’s music in a bid for fame. Season 1 explored the beginning of her journey, capturing her ambition and the choices she made to rise in the industry. In Season 2, we delve into the consequences of those choices—witnessing how Zion navigates the complexities of fame, guilt, and the karma that inevitably follows her actions.

What's your favorite part about being a storyteller and filmmaker?

My favorite part of being a filmmaker is seeing something you wrote on paper—a script—come to life. There’s something incredibly rewarding about being surrounded by so many creative individuals, all working together to bring your vision to its fullest potential. When a production wraps, there’s this moment of disbelief, like, “Wow, I can’t believe we actually did it.” But then that feeling quickly turns into excitement—realizing you can do it all over again, continue to grow, and keep getting better.

I truly believe that everyone has a purpose in life, and mine is to inspire through visual storytelling. Being able to use this gift not only to express my own ideas but to move, connect, and uplift others—that’s what I love most. For me, filmmaking isn’t just about the end result; it’s about the people I meet, the stories we tell together, and the impact those stories can have. It’s truly so much fun and fulfilling.

Who are some filmmakers that have significantly influenced your work?

That’s always a tough question for me because my taste really depends on the genre and what phase I’m in creatively. Right now, my work leans heavily into drama, but I’ve always had a deep love for sci-fi and action. So naturally, I gravitate toward directors like James Cameron and Steven Spielberg—storytellers who have redefined cinematic spectacle while still grounding it in emotional arcs. But I also admire directors like Antoine Fuqua, Issa Rae, and Gina Prince-Bythewood. They each bring something powerful and unique to the screen—whether it's gritty realism, or cultural nuance. I guess I’m most drawn to directors who know how to marry strong storytelling with a clear, compelling vision, no matter the genre.

How have you evolved as a filmmaker over time?

I’ve evolved tremendously over the last few years. I’m still growing, still finding my way and my niche in this industry. Right now, I’m just doing the best I can with the resources I have and the place I’m at in my career — always hoping that as I move forward, the sets get bigger, the budgets grow, and the audience continues to grow with me.

As a creative, my perspective has shifted a lot. I see the story differently now. I’m better at breaking it down, understanding its layers, and communicating my vision clearly. Even just comparing Season 1 to Season 2 of Rise to Fall — there’s a drastic leap in story, music, and cinematography. The quality overall has grown. That kind of growth gives me confidence that I’m on the right path and learning how to translate what’s in my head into something tangible on screen.

Where do you like to find yourself on set the most, what is your favorite role as a filmmaker to play?

On set, I most often find myself as an assistant camera or assistant director. Of the two, assistant director is where I feel most comfortable when I’m working on someone else’s set. I’m also an actor and really enjoy being in front of the camera when the role feels right. When it’s my own production, I usually take on the roles of writer and director. Those three roles — assistant director, actor, and writer/director — are where I naturally gravitate the most. I’m on the shorter side, so boom operating isn’t really my thing, and I’m not particularly handy with certain gear, so gaffing or grip work probably wouldn’t suit me. But if you keep me by the camera or in the director’s chair, that’s where I thrive. I have a good sense of timing, structure, and leadership — which really helps me bring everything together on set.

Any closing advice for young women in filmmaking that are hoping to follow their dreams?

My advice to young women in filmmaking is simple: keep going. This industry is still heavily male-dominated, which can make it challenging to find opportunities and be taken seriously. But that’s all the more reason why women’s voices and perspectives are so important — we need to keep pushing boundaries and opening doors for each other. I love seeing women as 1st ACs or Key Grips — roles where representation is still rare. So, break the barriers. Don’t be afraid to own the room. If you can’t find a seat at the table, then become the table. Don’t give up, and most importantly, just keep creating.

You can find more of KayCee’s work:

Instagram: @kmkfilms @kaykizzle_ 

Youtube: @kmkmfilms

Facebook: @kmkfilms

Website: www.kmkfilms.com

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Indie Filmmaking Adventures with Milwaukee Filmmaker Diya Gitanjali | By /CW Guest Writer Jolee Mallmann

Having worked on a few sets with Diya, I’ve always been very drawn to their unique filmmaking style. The color palettes they make use of, the poetry in their photography and film work; there are so many filmmakers in the Milwaukee scene, and Diya has found a way to pave their own clear path. To make work that speaks to the current culture while remaining timeless in voice isn’t a task every artist can take on, but it’s a returning feature to projects Diya has a part in. Anyone would be lucky to find themselves on set with this dynamic, one-of-a-kind filmmaker. 

If you had to describe yourself as an artist and a filmmaker, what would you want people to understand about your work most?

As a filmmaker, I am usually drawn to Horror and Science Fiction, because I believe that these genres allow us to explore and confront themes of gender, sexuality and oppression in a creative but sometimes indirect way. I think that processing our trauma as individuals and as a society is vital -- and what better way than through abstraction and metaphor? My most recent film, Knife In Hand,  explores new love and obsession and how that can throw your life and creative practice out of whack. I’ve found that that kind of obsessive feeling can be both freeing and detrimental as an artist. 

I also shoot all of my films myself, and plan to pursue being a Director of Photography as my career long-term. Some of my favorite cinematographers are Benoit Debie, Greig Fraser, and Quyen Tran; all of whom use color, light, and intentional camera angles to create evocative and stunning imagery. I think something I strive for in the visuals I create is "emotional realism" -- like, how did a moment or a memory feel, as opposed to how it actually looked? Especially with the way modern digital cameras and lenses are becoming more crisp and almost artificial-looking, I try to keep my work feeling grounded and true to my experiences. I want my work to be successful in its intention and emotionally stimulating to the viewer. 

Does being a poet affect how you approach your filmmaking?

I’ve been writing for fun since I was a kid, and the one thing people have consistently said they like about my prose and poetry is how “atmospheric” it is. I think I’m good at creating vivid images in my writing.

I think creating atmosphere as a cinematographer is super important, and way more involved than people might think! Like, what lenses are you using, how are you shaping the light? What’s the weather like, what season is it, what’s going on in the world? The first example that comes to mind when thinking about atmospheric filmmaking is the Twilight movies -- the color grade and choices of shots in the first movie especially. They really transport you to that chilly, wet town of Forks in Washington state.

The Handmaid’s Tale TV series on Hulu also does a good job at this -- they use a ton of fog machines in all of their locations to create this dusty, stuffy look. That look compliments how the main character is feeling. She’s claustrophobic in this new society, and in a way she’s been transported to the past. 

What's your favorite part about being a storyteller and filmmaker?

My favorite part about being a storyteller and filmmaker is the simultaneous collaborative and individualistic nature of creating a film. Each person on set has their own set of tasks, whether that’s operating the camera or setting up lights or even setting up snacks at Craft Services. But we’re all working together. We’re bringing one thing to life by individually doing our own thing. Even though the days can be intense and even grueling, It’s such a gratifying process -- hurrying up and then waiting, the best day of summer camp one moment and then extremely mentally draining the next. But there’s no better feeling than creating work that you’re genuinely proud of!

Who are some filmmakers that have significantly influenced your work?

One of my favorite filmmakers right now is Julia Ducaurnau, who wrote and directed Raw and Titane. Both of these films make the viewer viscerally uncomfortable, the films kind of grab you and shake you. I also really enjoy Coralie Fargeat’s work, and in an interview about The Substance she said something really interesting about choosing to keep a shot of a fly struggling in Demi Moore’s character’s drink -- she said something along the lines of, yeah we could take the shot out but it adds something essential to the film’s identity and mood. 

When I was sixteen my first boyfriend showed me Enter The Void by Gaspar Noé, who I know is a somewhat controversial filmmaker. Noe has remained my favorite director since then. I love how interested he is in portraying reality and all the ways humans can relate to each other and fall in and out of love. His films are always provocative and sometimes terribly self-indulgent, but he consistently nails something really raw and beautiful in his work that I aspire to. 

How have you evolved as a filmmaker over time?

It’s funny, I was going to detail how specifically I’ve changed as a filmmaker over time, but I think it’s more accurate to say that I’ve just gotten better at crystallizing and refining my vision. 

When I attended film school a few years ago, I was lucky to cross paths with and learn from Carl Bogner, a beloved queer elder and film educator. He was one of my favorite teachers ever. Carl passed away recently, and I came across an email he had sent me when I was eighteen or nineteen years old, in response to work I had submitted in one of his classes. When I look back on that time, I remember feeling like I didn’t know who I was as a filmmaker. I remember my work feeling pretty far from what I wanted it to be. Here is the email:

“Again, great work with palette here. Both of your pieces communicated so much with your sense of color. As well: you have a deft sense of scale: of image size, of how an image occupies the frame, of incident. You know how to work the everyday so well.” - Carl 

I was so happy to stumble across this -- what he had pointed out about my work, pieces which I now consider pretty rudimentary, nailed what I strive for as an artist and filmmaker. It’s a validating and encouraging thing to look back on. 

Do you have any advice for young femme and nonbinary people trying to establish themselves in filmmaking?

My advice would be to meet people, learn stuff, and get on set. And also to trust your gut. 

I graduated from the film program at UW-Milwaukee in 2022, and I thoroughly enjoyed my time there. I think the biggest things I gained from film school were the connections and experience, which were essential in getting my footing in the industry. Besides the career aspect, I met so many creative and driven people who became some of my closest friends. I also think the educators I interacted with in film school did a great job not only teaching technical skills but helping me to refine my own creative practice. 

I would also tell people, especially non-men going into the film industry, to make sure they advocate for themselves. Obviously be kind and considerate for the most part, but make sure you are carving out space for yourself! Get answers to your questions. Don’t let yourself become a doormat! 

I also think there’s an element of being a filmmaker that some folks don’t understand going into it, and that’s reciprocity. Like, ask your friends and classmates you admire to help you with your projects. Folks are usually happy to help you make your vision a reality. Just sure you buy them a donut and thank them for their time at the very least. 

But also, make sure YOU are showing up for them in a real way. Work hard, contribute to a positive set environment and make good stuff. It’s important to not only be technically proficient but also to treat people well and show up! That’s my best advice. 

You can find more of Diya’s work: @diyagitanjali on Instagram and VIMEO

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Exploring Independent Filmmaking with Milwaukee Director Immanuel Baldwin | By /CW Guest Writer Jolee Mallmann

In launching this series highlighting local filmmakers, I was hoping to be able to spotlight some of the people I’ve looked up to, worked beside on set and learned from personally. Milwaukee in particular, is a city filled with creatives, oftentimes working beside each other but not always intersecting. When I first had the opportunity to work with Immanuel, I was struck by his calm and cool demeanor on set. This is a director who has thought of everything before it could go wrong. In the world of film and television, sets can be a chaotic experience and working with Immanuel Baldwin is walking within the eye of a tornado. 

What kind of filmmaking speaks to you the most as someone who works in a variety of environments from commercial to narrative? 

As someone who works across multiple environments—from commercial to narrative—I am most drawn to filmmaking that blends emotional depth with visual precision. In both commercial and narrative spaces, I find storytelling that challenges the viewer, engages them emotionally, and pushes boundaries to be the most compelling. Whether it's a high-concept ad or an intricate narrative piece, I’m most captivated by work that creates a strong connection with the audience. Surprise and delight. I am particularly inspired by films that employ subtle details and layered storytelling, allowing the visuals, sound, and character development to elevate the narrative. 

Currently, what is the strongest vision or aesthetic that's inspiring your work? 

Right now, I’m very inspired by a balance between high-concept, visuals and deeply human, emotional storytelling. The aesthetic I'm drawn to is one of grounded realism in the emotional moments, contrasted with stylized, almost surreal futurism or minimalism. Currently, I’m learning to tell stories on a macro level with tighter shots altogether. 

What's your favorite part about being a storyteller and filmmaker? 

My favorite part of being a storyteller and filmmaker is the ability to craft something that resonates emotionally and intellectually. I love the challenge of translating complex ideas, emotions, and themes into a language that feels authentic and immersive. There is a unique satisfaction in seeing a story come to life through visuals, sound, and performance—creating an experience that stays with the viewer long after the credits roll. Additionally, I deeply enjoy the collaborative aspect of filmmaking—working with talented people across different disciplines to bring a shared vision to fruition. 

What are some filmmakers or films that have significantly influenced your work? 

I admire directors like Darren Aronofsky for his deep psychological exploration of characters and themes, Alex Garland for his mastery of clinical, dystopian worlds, and Salomon Ligthelm for his textured, emotionally rich storytelling. Each of these filmmakers brings something unique to their work—whether it’s Aronofsky’s disorienting visual style or Garland’s philosophical narrative depth. Their films challenge the viewer and push boundaries in both content and form, which aligns with my own approach to filmmaking. I also find inspiration in stories like Ex Machina Black Mirror, and Swan Song, which all blend technology, emotional storytelling, and social commentary. 

How have you evolved as a filmmaker over time? 

Over time, I’ve evolved into a filmmaker who values not just technical proficiency but the emotional and thematic depth of a story. Early in my career, I focused heavily on the technical aspects of filmmaking. As I’ve matured, I’ve developed a deeper sensitivity to the emotional journey of characters and how visuals can serve the narrative. I’ve also become more comfortable with taking creative risks and experimenting with new styles. And most recently being okay with sitting still for a beat. I think it gets difficult to see other creatives making things while you’re not. It’s been a whirlwind of growth for me to be okay and content with allowing space to think and to rest. 

Find Immanuel Baldwin’s work: @directorbaldwin on Instagram and www.directorbaldwin.com

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Into independent film? Want to learn more?

/CW Introductions: Jolee Mallmann [Guest Writer]

We are excited to introduce a new guest writer, focusing on “up and coming local filmmakers and film projects”, Jolee Mallman.

“We are constantly exploring ways to tap into the diverse creative industries we have in Milwaukee & of course in the Midwest. So when Jolee reached out, it just made me excited to see someone exploring film because they love it and want to share it with the world. You better believe we are going to make room on our platform for that!” - Lexi S. Brunson | Active Editor-in-Chief /CW

Jolee is a Midwest artist and filmmaker living in Milwaukee, Wisconsin. They have a passion for narrative filmmaking, sketch comedy, and independent productions. Jolee got their start in filmmaking with a local/low budget/community makes it happen mentality ala "Be Kind Rewind" 2008. 

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Be ready to explore more of the film scene with a twist, with monthly

drops from Jolee on copywritemag.com/blog.