Pop-Culturalist.com

Blake Rice, an award-winning producer, screenwriter, and director, stands out as one of the most dynamic and influential voices of his generation. His work, deeply rooted in the human experience, carries a universal appeal that resonates with audiences everywhere. His latest short film, Tea, is creating quite a buzz as it makes its way through the festival circuit, earning acclaim from critics and viewers alike.

Starring Michael Gandolfini and Olivia Nikkanen, the dramedy follows a lonely and highly allergic Circuit-Shack employee who, while rehearsing how to ask out the girl of his dreams, gets stung in the throat by a hornet. a buzz as it makes its way through the festival circuit, earning acclaim from critics and audiences alike.

Pop Culturalist was lucky enough to speak with Blake about the short film, working with his dream tea(m), and more.

PC: You’ve got a short film making its way around the festival circuit, and it’s tackling the universal theme of loneliness through a comedic lens, which I think makes it much more accessible for audiences. Was that contrast something you were mindful of as you began writing this short, and what was the inspiration behind Tea?
Blake: I think I’m always looking for material that’s personal yet also relatable on a grander scale. The character in Tea is lonely and isolated in his own way, but who hasn’t felt their own version of that? I’m always chasing specific, unique, character-driven projects, and if you dive in and find something that hits a point of truth, it’s the seed of something bigger thematically. Life is hard, life is messy, life is sad, and it’s funny as well. To me, if we’re in a grounded world, I want to dive into stories that check every box genre-wise because that’s how I see it all.

PC: Michael brings such an empathetic quality to this character, and within the first few minutes, he’s able to draw in and connect with audiences. When your ensemble is performing at this caliber, how do you create that runway for them to do what they do best? How have your own experiences in front of the camera influenced the way you approach your work as a director?
Blake: That’s a great question. It all comes down to prep, which begins at the very start of the casting process. Even during auditions, we’re considering who will mesh well with whom, which actors will play well off each other, and the potential chemistry in various combinations. For Tea, we held in-person auditions and callbacks, spending a lot of time exploring our options. After booking the talent, we drilled together as much as possible before stepping on set. This way, when we do start filming, we can drop these characters into an unfamiliar world, and they can rely on that preparation to thrive when the camera rolls.

My own experience as an actor contributes significantly to this process because I understand what it’s like to be in their shoes. I know when it’s appropriate to push someone, what they might be feeling between takes, and where their strengths and weaknesses lie. I’m grateful for the opportunities I’ve had to act while growing as a director, as it has given me valuable insights.

PC: As the writer-director, I imagine you have a strong sense of who these characters are, but when you cast leads as extraordinary as Michael and Olivia, you want them to bring their own interpretations to the roles. How did you foster that environment on set for them to take agency over their characters and bring their nuances to life on the screen? Did any of their interpretations surprise you?
Blake: The script is never locked, and Michael and Olivia are incredible storytellers, writers, and improvisers as well as just straight-up actors. Once the project is cast, the actors become the experts on these characters; I’m just a consultant. Michael and Olivia are absolute pros who came in prepped, and it was an honor to work with them. Seeing how ready they were for the roles, it wasn’t difficult to say, “Hey, we got one here, let’s take this next take off-book.”

I was also surprised by how damn funny they both were. Plain and simple, their sense of humor shines through in this. It’s something you can’t teach. They are talented, but also hilarious people and comedic performers.

PC: There’s also something very special about a group of longtime friends collaborating on a project and how that passion for the story radiates off the screen. Can you talk a bit about putting your creative team together and how they impacted the story?
Blake: We’ve been on a ton of projects together, especially our producers Gabriella Piazza, Michael Cejovic, and Tom Jester, in addition to the incredible costume designer Renee Ryan, HMU Lindsay Cullen, SFX Mackenzie Brooks, and editor Mike O’Brien. I could keep going. This team is the heart and soul of Tea. We call them the tea(m)… sorry. [laughs] I take a ton of pride in the energy, friendships, and relationships in our films. We’re all very close and have a ton of fun on and off set together, but when it’s time to work, the sleeves get rolled up and we push each other.

These filmmakers are off on their own, diving into their own projects and elevating their game, and when we come back together to work on another film, it’s so cool to see how everyone has grown, gotten stronger in their field, and is elevating the rest of us. They all impact the story of Tea a ton. Whether you’re a producer or a PA, you get an opportunity to comment on the script or story. We create an environment where the best decision for the film wins, regardless of position.

PC: There’s such a thrill when you’re working in independent filmmaking. Is there a scene or moment that even you were surprised you were able to pull off?
Blake: The climax. [laughs] We were losing light, had no time, and the blocking was specific and complex. Thanks to our incredible DP, Matheous Bastos, we were able to command the moment, block, shoot, and lead the set during those precious moments without compromising the image or story. Everyone should check out his work.

PC: You also had your editor on set during this filming experience, which I think is so beneficial in ensuring there’s enough variation and coverage to convey what you want from the story to the screen. Is that typically how you work? What was that collaboration like?
Blake: Our editor, Mike O’Brien, is a mega-talent, dear friend, and former college roommate of mine at Rowan University. Having him on set, as well as involved in the writing and development stage of any project, is a huge advantage. Having “OB” around throughout the filmmaking process, not just during the edit, allows him to get in front of the material and familiarize himself with the story as much as possible. This helps inform the edit and expedite how we shoot. Having your editor in the video village, helping determine “if we got it” or not, is something I’m always pushing for on future projects.

PC: Tea is making its way around the festival circuit, and often with shorts, they serve as a proof of concept for a feature. What does the future hold for it?
Blake: More festivals, more festivals, more festivals. Ever since Cannes, this little film from NJ has opened more doors than anything else in my career. We do have a feature in development, and it’s got some really exciting momentum. Every festival we play and every screening we attend opens new doors, and we are beyond grateful for it all.

PC: Final question for you, and it’s one that we’ve started to ask filmmakers recently: What was the movie that had the biggest impact on your journey as a storyteller and set you on this path?
Blake: Oh, spicy. Hmm, I think the biggest movie that broke my brain the most was Silver Linings Playbook. Maybe because it’s a local/somewhat hometown story for me, or because the family dynamic and comedic style, balanced with deeply flawed and brilliantly achieved characters, are something I hope to capture in my own work. I like the gritty, I like ensemble casts, and I like a movie to be ten genres rolled into one.

To keep up with Blake, follow him on X and Instagram. Tea will next at HollyShorts.

Photo Credit: Parker Burr