Blake Winston Rice on Breaking Convention and Redefining the Language of Intimacy in ‘DISC’

Emerging as one of the most exciting voices of his generation, Blake Winston Rice is redefining what modern storytelling looks like. With a keen eye for tone and an instinct for emotional truth, his films have captivated audiences at world-renowned festivals including the Cannes Film Festival and the Toronto International Film Festival. Each project feels unmistakably his—bold in concept, personal in execution, and brimming with a sense of curiosity that invites viewers to laugh, reflect, and feel in equal measure.

In his latest short, DISC, Blake once again pushes boundaries—this time with a razor-sharp, heartfelt spin on the hookup trope. Starring Jim Cummings and Victoria Ratermanis, the film begins with an intimate crisis involving a feminine hygiene product that unexpectedly draws two strangers closer than they ever imagined. What unfolds is a raw, funny, and deeply human exploration of connection, one that finds beauty in the awkward and honesty in the absurd.

Pop Culturalist caught up with Blake Winston Rice to chat about his collaboration with Victoria Ratermanis, the trust that fueled DISC, and how breaking convention has become the heartbeat of his filmmaking.

PC: Victoria Ratermanis first brought you the script for DISC, and together, you shaped it into what it is today. What initially drew you to the story, and how did it evolve through your collaboration?
Blake: What grabbed me right away was the chance to explore connection—something we’ve all seen before, but through a lens that felt fresh. The script flipped the usual one-night-stand tropes on their head and wasn’t afraid to dive into the messy, vulnerable, and funny dynamics between two people trying (and often failing) to get on the same page. Victoria and I kept leaning into that mix—the rawness, the boldness, the humor—until it became the version of DISC we have now.

PC: You and the team strike such a delicate tonal balance in DISC—at times dramatic, at others comedic. How did you approach maintaining that rhythm so seamlessly, particularly through the performances, pacing in the edit, and the score?
Blake: It all started with communication and prep. Jim and Victoria were incredibly trusting—we talked through every beat so we all knew the exact emotional ride we were taking.

For the score, Kevin Garrett was a huge swing that completely paid off. He’s such a unique musician and storyteller, and I basically asked him, “Can you create a male/female a cappella score that follows the characters’ emotional arcs and literally harmonizes at the end?” And he actually did it.

As for the edit, Mike O’Brien and I have worked together a lot, so there’s a built-in shorthand. He just gets my brain and translates it into the rhythm you feel on screen. That trust helped us find the tone confidently and quickly.

>PC: There’s such a commitment from the cast in bringing this story to life in a way that feels raw and grounded. How did you create an environment of trust and vulnerability on set, especially given how quickly you had to shoot?
Blake: We were lucky—Jim and Victoria are close friends, so the personal trust was already there. But as a director, I feel it’s on me to set the tone. I’m asking a lot of everyone—the actors, the crew—so I’m constantly showing them that I’m just as all in.

We’re moving fast, we’re laughing, and we’re always clear about what we’re doing and why. If I’m asking the cast to be half-naked, crawling on the floor, and doing deeply vulnerable work, they have to know the final film is worth it. I take that responsibility seriously—while still making the process fun.

PC: The film takes a huge creative swing at the end, and it completely works because of how much tension you’ve built throughout. How early in the process did you, Victoria, and Kevin Garrett know you wanted to end it that way, and what gave you the confidence to go for it?
Blake: The original script always leaned toward a big moment of clarity—a shift that could only come after total vulnerability. The version you see now, with the acronym reveal and the score fully embracing that concept, really came together in the edit. It just clicked into place and felt like the exact release the story needed.

PC: It’s been quite the past few years with Tea and DISC—both have showcased your voice as a filmmaker. What are the plans for the future when it comes to what you want to explore next?
Blake: I’ve decided: only hotel hookup movies forever. (Kidding—mostly.)

I’m really excited about jumping into a feature. I have a project in development called The Empty Lot with Wild Atlantic Pictures that explores motherhood, romance, and fighting the odds. I’ve always been drawn to stories that don’t fit neatly into one genre. With Tea and DISC, if I’ve done my job, you laugh, you get a little punched in the chest, and you walk away feeling like you just saw a movie-movie.

That’s the goal moving forward: to tell bold stories that reach a wide audience and make people feel every ounce of it.

To keep up with Blake, follow him on X and Instagram. Keep up with DISC on their official Instagram page.

Photo Credit: Shawn Goldberg Photos