Inside 'Leo the Raptor': The Monster We Carry Within - Interview with Director Brian Smith and Producer Ada Simbo

Could you please start by telling us a little about yourself? How did you get interested in the world of filmmaking, and did you receive any academic training in this field?

I am writer and filmmaker from Delaware. I didn’t receive any formal training for writing or directing. I’ve been learning on the go.

Where does the short film Leo the Raptor sit in your filmography, and how did the core idea for this film first come to you?

Brian: Leo is my fourth completed short film. My core idea was to make a film that would get better each time you watch, because you might catch something in the story that you didn’t on the first viewing.

Tell us about your creative process, from the script to the post-production.

Brian: What if the monster isn’t something chasing us, but something we’ve carried inside for years? I wanted to tell a story that blended psychological horror with themes of trauma, loneliness, and mental health awareness. And in the end, not just simply create a horror film, but to tell a meaningful story that could entertain audiences while also opening conversations about mental health.

Do you commit to executing the script exactly as written, or do you incorporate improvisation during production? Generally speaking, how faithful were you to the screenplay of Leo the Raptor?

Brian: As a writer and director, I love when the cast fully embodies their characters and gives me something that isn’t always on the pages. But this cast knew this script front to back and delivered performances that were amazing and nearly word for word.

How did you find your cast? For instance, how was Julie Chapin cast? Do you believe in pre production rehearsals, or do you prefer to shape everything directly on set?

The cast was derived from a group that we had formed online, during the COVID-19 pandemic ~ actors, directors, writers (aspiring writers), who met weekly, on zoom, to brainstorm ideas for scripts, read over scripts, and make plans to film, once the “world opened back up” so-to-speak. Julie, in particular, was an extremely talented actress who Ada had worked with on many projects over the years, who we have both grown to know and love. She adds a unique, spirited take on any role she is given.

What do you consider to be the most important theme of the film? If you were to explain its underlying meaning to us, how would you define it?

Brian: That mental illness is a real thing and should be treated as such.

How did the idea of utilizing a conversational format between characters come to mind? Furthermore, by limiting yourself to video calls between characters, what creative freedoms did you gain, and what limitations did you face?

Brian: In many ways, those limitations became strengths. Restrictions force creativity. They challenged us to think differently about storytelling and reminded me that compelling characters and meaningful conversations can be just as captivating as any spectacle. The experience reinforced my belief that if the audience becomes invested in the people on screen, even a simple video call can become an emotional and cinematic experience.

What was the most significant challenge you encountered during the making of Leo the Raptor?

Brian: A significant challenge was keeping the film interesting, while not filming in a traditional way. For instance, having the actors and actresses stare directly into the camera. And having to recast our lead, and hoping he would be able to embody Leo, with only having access to the script for 48 hours. Ryan did an incredible job as well as all of our cast and crew. Ada: I feel like two of the biggest challenges that we experienced were in coordinating the schedules of a fairly big cast.

We had to even recast the biggest role, due to scheduling conflicts.We were extremely blessed to have had our Lead, Ryan, step into the role with less than a week to learn the script, and transform into the part, seamlessly. The second challenge I recall was figuring out a way to shoot the entire movie in a way to keep with the original concept, where most of the narrative was facetime/ zoom conversations between all of the characters (due to it being set in a pandemic era). Our clever cinematographer found a way to make that happen.

Which filmmakers have influenced your life and your filmmaking style the most?

Brian: There’s so many! But I always go with Spike Lee, Spike Jonze, Brad Anderson, Christopher Nolan, Michael Mann and Wes Craven. I could go on forever.

Ryan Wilson, who plays Leo, delivers a very convincing and high-energy performance. In your opinion, how much does the screenplay rely on the actors' performances, and how successful was your cast in bringing the ideas to life?

Brian: Ryan Wilson understood that responsibility and fully committed himself to the role in such a short period of time. He brought an authenticity and intensity to Leo that elevated the material beyond what I had imagined during the writing process. And the same can be said about the rest of our cast.

If you could go back in time, what are some things you wouldn't repeat during the making of this film? What do you think is the most important lesson you learned from making this film— the most valuable experience you could offer to other filmmakers?

Brian: One of the most important lessons I learned was to relax when things feel like they’re falling apart. Casting our lead with only days before filming, had my blood pressure up! So if it’s one thing I’ve learned and would pass on, it is to just relax and get those shots.

Do you believe that cinema can contribute to our understanding of the mental health issues faced by the people around us?

Brian: Absolutely. One of the greatest strengths of cinema is its ability to create empathy. Mental health issues are often misunderstood because many of them are invisible. People can appear perfectly fine on the outside while fighting incredibly difficult battles internally. With Leo, I hoped that it would inspire someone to check in on a friend, seek help for themselves, or simply become more empathetic toward the people around them.

Ada: Most definitely. I feel that the more writers show relatable, everyday people on film, struggling, and working through various mental health issues, the more we can normalize the fact that many of us throughout our life will cope with some sort of mental health issue. Normalizing it helps to decrease the stigma still associated with mental illness/wellness.

If possible, please tell us about your next project.

Brian: I am currently in pre production on an action/thriller film titled Mr. 3AM. It will be my first time directing a short film that’s not a story I’ve written.

Ada: I just finished writing my very first script (with a writing partner), a short drama, which we intend on shooting this Summer. Brian will, no doubt, be a part of this production, directing, and providing much needed support. After that, hopefully, we’ll collaborate in writing the pilot episode to a series that I have been working on for the last few years.