Obviously, Comic-Con is known for comics and tentpole superhero blockbusters, but did you know that it also features indie films by up-and-coming DIY filmmakers? While there are a ton of pop-ups and presentations that we’ve been excited to check out at San Diego Comic-Con this year, one of the standouts for us so far has been the indie sci-fi feature Our Man in L.A. by filmmaker Joshua Sowden.
We chatted with Sowden about his indie film and how he was able to shoot it using a Blackmagic Production 4K in an indie, but creative, documentary style, plus explored a bit more about how Comic-Con is more than just big-name superheroes.
No Film Sschool: Tell us a bit about how Our Man in L.A. came to be, and what your initial idea for the project was.
Joshua Sowden: This project began in 2019 with Guy Birtwhistle. Due to the pandemic, he reworked the script to focus solely on a single character's perspective. In the meantime, I filmed my first feature, Extramundane, as a solo filmmaker. By 2021, Guy and the script were ready, and having done solo filming during Extramundane, we were set to go. Guy's story naturally lent itself to solo filmmaking, which was a beautiful fit.
Joshua Sowden
Joshua Sowden
NFS: How did you get your film into San Diego Comic-Con, and why did you choose to premiere it there?
Joshua Sowden: Guy Birtwhistle, a talented actor and producer, had his first sci-fi feature Alistair 1918 screen at Comic-Con in 2016. Our goal was always to submit Our Man in L.A. to Comic-Con, given its unparalleled platform and networking opportunities. The film's indie vibe and exploration of high sci-fi concepts made it a perfect fit for the festival's film showcase.
Our Man in L.A.
NFS: The film feels very indie yet explores some high sci-fi concepts. What was your approach to bringing this film to life in a DIY manner?
Joshua Sowden: I aimed to capture the film in a documentary style, reflecting the protagonist's perspective in this version of L.A. I embraced imperfections like slow focus pulls and harsh lighting to enhance realism and grittiness. This approach required flexibility and forgiveness, except for the final scene in the NASA Bunker, which demanded precision to contrast with the rest of the film.
Joshua Sowden
NFS: What camera did you shoot on and why? What other gear helped you on your filmmaking journey?
Joshua Sowden: I predominantly used the Blackmagic Production 4K camera due to its affordability and ability to deliver the desired gritty image. I rigged it for versatility between handheld and tripod setups, allowing quick adjustments during filming. We relied on lav mics and a Rode NTG-2 shotgun for sound.
I would have the Rode mic usually in shotgun form and run the recorder into a fanny pack so that I could run sound and roll camera myself. We often utilized natural light supplemented by occasional bounce and artificial lighting. You will see the occasional DJI drone shots and go pro when the Blackmagic was not an option.
Our Man in L.A.
NFS: What films, books, or comics influenced you and this project?
Joshua Sowden: Upon reading Guy's script, I envisioned an indie version of Michael Mann's Miami Vice meets District 9 (without the aliens).' I aimed for a gritty, hot portrayal of L.A., adjusting color tones and employing the camera to achieve a realistic, documentary-like feel.
Our Man in L.A.
NFS: If you could give advice to up-and-coming filmmakers looking to make their own sci-fi features or shorts, what would you tell them?
Joshua Sowden: Use what you have—modern lighting and cameras are affordable and accessible. Focus on crafting a compelling story over technical perfection. Prioritize good audio, as audiences are less forgiving of poor sound quality. Be efficient with your shots, prepare diligently, and allow scenes to unfold naturally.
