Meet the Cast: Jarrett Maier AKA Reagan Boem


My name is Jarrett Maier and I am 16 years old. I was born in Chicago,Illinois and now reside in Indiana. I’ve always had a interest in acting since I was very little, but it wasn’t until my freshman year in high school where I wanted to turn that interest into a passion, a dream, a lifestyle. I immediately got involved with school productions and productions at my local civic theater which opened a lot more opportunities for me. I am very thankful to have been cast as Reagan Boem in “The Things We’ve Seen.” This marks as my first feature film but my third film production in my acting career. I truly love the character and the story. I’ve recently have been doing a lot of research about method acting which is a sort of acting technique. It allows you to totally become your character on and off set. I have also been using music as a huge way to get in the mindset of my character. As time closes in on the first day of filming, I start getting more and more into character. Whether it’s starting to actually dress like my character in daily life or actually being my character for a period of time. I’m can’t wait till the cameras roll and I can’t wait to create magic!

~Jarrett Maier – Reagan Boem



Waking Up

524190_764188130344374_7857260093403546561_n Wake ups, meeting with strangers, phone calls across the country to people larger than you. Rejection then progress, a lost step, another gained, another deferral, a glimmer of hope, and then gone again. Few words can describe watching something you have envisioned grow from nothing, and the process of giving that birth binds you evermore to that work. Like birth, there is that fear lingering. Will it survive? What is the story? Defined. Written and re-written, now measure the logistics. What is practical? Re-work the budget ten times over, mapping the absolute worst, and then gauge the goals. The beginning of this film, a period which you are now a part of, began with the flicker of a story that would allow me to bleed an idea, an emotion, onto the screen. The initial push – coming up on eight months past – saw the development of my company Cerulean Filmworks. The construction of an office space where I can plan was met simultaneously with the direction of four films within the span of a few months, and continuing the push with past projects, seeing them land success in international contests halfway around the world. In this period of non-stop motion, I drew the task of having to fall in love, again, the curse of an artist in more ways than one. This time with a piece whose title fell upon me later than usual, after I had met these new individuals, these characters. Often I accuse my ambition, but I have learned to wrestle it into becoming my strength. Before you become immune to something, it tries to kill you. The films I make have a way of teaching me their morals. I often think they impact me more so than an audience. Their titles are reminders of the struggle to make them breathe. Through the Never saw the overcoming of a seemingly impossible obstacle: shoot a feature film in six days on a non-existent budget, set in 1940s America with war scenes set in the Pacific. By the way, ¾ of the film needs to be shot in three days and you have a single camera. Don’t be late for ethics class the next morning; you are still in school. The Things We’ve Seen has so far been no exception. If there is anything I have learned about this process of creating something from cryptic text on a page, it is that I always find myself sitting at the location the first morning, watching as the sun rises on the day. I once heard Stanley Kubrick say, “The hardest thing for a filmmaker to do is get out of the car.” I never knew what that meant until I first leapt off the cliff into Through the Never. As I look at this new endeavor, The Things We’ve Seen, with the weight of all these months of predicting, gauging, flying to new states, digging for an inch of ground to stand firm – constantly wondering what the end will be – I know now what Kubrick meant. He meant that in the car you still have a time to think. You still have time to turn around and no decision has been made that could derail all that time prior to opening the car door. He also said “when you do pull it off, there are few feelings in the world that can match it.” Now, I also know that as true, as we point our lens to production in June. The best moment – my addiction – is when the cast is in place, the camera is set, the crew is at their stations, and everything goes quiet. In that moment, a tiny lapse of time between breaths, I finally can clear my head. In that moment I am able to stand back and watch as over half a year of preparation rests on my tongue…all I have to do is say ‘action’. It is in that lapse of time that I get my fix, for it is the moment that a dream becomes a reality…that lifelessness blooms into creation, and the fusion of those two worlds is literal magic. For that minuscule amount of time, I am able to bring others into my thoughts – my feelings and questions– take them into my life, into my dreams, and let them find a part of themselves in my being. ~Tré Manchester – Director/Writer 10704335_714450048651516_6086517154509099496_o