Nicky Rudolph Calloway was our 2024 Fall Season Short Film Fund Grand Prize Winner with his script I AM A GENTLEMAN. This bold, satirical dark comedy is set in a society that rationalizes violence against women, where high schooler Max faces the harsh reality and consequences of his new, hormonal compulsions when he has his first crush on a girl after taking the school’s mandatory sexuality test.
Tell us a little about your short. What it’s about and what inspired you to write it?
I AM A GENTLEMAN is about a teen boy approaching puberty who has the misfortune of living in a society that has dangerously rationalized violence against women. We follow him through the first days of high school, where he’s exposed to imagery during a Sexuality Test that simultaneously traumatizes and ignites a popularly-believed “inherent” biological response in him. As he struggles to grasp his own understanding of this normalized violence through friends, family, and teachers, he tries to get close to his new female crush.
I wrote the script for IAAG in the first few months of the pandemic, and what is now unfortunately known as the first Trump administration. I was fascinated by this question: Are men biologically programmed for violence, or does our society condition them that way? The story is left to interpretation, but I do feel that it’s a critique on the hypocrisy of Western violence, perpetuated by capitalism and imperialism. The insistence of the adult characters in the script that violence is “bad” is simultaneously excused and ignored. It becomes a self-fulfilling prophecy for their children, a perverted right of passage for the boys. All of that sounds quite serious, but the tone is satirical. There are plenty of breaks for humor in between the horrors of their reality.
What motivated you to enter the Short Film Fund?
I’ve known about Shore Scripts, having surfed the highs and lows of screenplay competition submissions. I knew that Shore had a trusted reputation. I submitted IAAG to their screenwriting competition years ago. I can’t recall how far in the competition it went, but it did get me remembered when I entered it into the Film Fund. That was the best feeling – being told my story was memorable.
How did you feel when you found out that you won?
Oh, excited of course. Like a huge, ginormous step in the right direction. A very relatable and shared experience for writers and artists in general is feeling like you’re scrambling around in the dark. Clinging to any possible scraps of confirmation that you’re making progress. I’m very lucky to get a big sign like this, and grateful for the support I’ve already been shown by Shore Scripts.
Are you looking to direct your short film? Are you a first-time director? What scares you the most about this production? What excites you the most? Who on your team will you be relying on to help you bring this project to life?
I’m a first-time director (not counting the dozen very rough, budgetless practice films at community college). I’m most excited about working with actors, I studied acting for five years. It will be thrilling to see what they bring to the script, and how they bring life to the characters.
My dear friend Dice came on the project as DP and producer, and the film will highly benefit by her personal connection to the story. I approached her with it because I knew she’d get it. I can’t overstate how important it is to have people who understand and protect what makes your script special.
Do you think about the practicalities of filming when you write? If so, how has that changed your writing process, or have you always thought that way?
Honestly, no. At least not consciously. I certainly wasn’t for this script. I’d gotten really into my head the last semester of the film program I took at community college – I was too focused on a “producible” story and my imagination became gridlocked. When I wrote IAAG, which was in a matter of hours, I told myself I wouldn’t make it, so I could write freely. Since then, those filming practicalities are naturally on my mind, but when writing a feature I also try to stay true to what the story needs. It can always be rewritten.
You previously mentioned that the script was optioned for two years. Can you share a little bit about that experience—how the opportunity arose, what the agreement entailed, and any lessons learned?
Yeah, it is an interesting pitstop in the script’s journey! It won Best Short Script at Slamdance and the Nashville Film Festival, and after that I got a handful of directors and producers interested in optioning or buying the script. Since then, I now understand how unique that was, especially with my first script. I signed a two-year option with a Swiss production company, and got a little bit of pay (which was very nice of them, because that’s not typical for optioning short scripts). I did it to give myself some space from the pressures of making it, because this was still during the pandemic. It felt impossible. But then eventually the two years were up, and the script returned to me, unproduced. The subject matter still intimidated me, but ultimately that was the greatest sign to lean into it and direct it myself. As for lessons, I did a lot of research on Switzerland’s government film grants, since the production company intended to fund the project that way. I also made sure to include that I would be the one to make any rewrites; I was happy to hand it off, but obviously wanted a little bit of control. It was a cool experience.
What do you feel will be your biggest challenge in terms of getting your script off the paper and onto film?
Money, money, money. Isn’t it always, haha? I need a school location and a lot of background actors. Like I’d said earlier, I didn’t write this intending to ever make it. So I have to deal with the pros and cons. That’s why winning the Shore Scripts Film Fund is a huge factor in getting my film made. I now have a sizable chunk of the budget, a camera package, and the support of seasoned industry professionals. My next step is attaching another producer that will hopefully lead to that last chunk of money. If not, I’ll turn to crowdfunding. Either way, it’ll get done!
What are your aspirations for the film once it’s completed? Certain film festivals? Help with getting a feature off the ground, etc.?
I, of course, have the typical indie filmmaker dream of taking the film to Sundance or SXSW, so I’ll no doubt submit to all the big festivals; but I’d be happy anywhere they’d have me. Playing my film at the Nashville Film Festival would be really cool because I’ve won twice in their screenplay competitions, and visited the festival in 2023. It had the best energy, and I felt like family. Returning there with a film would really bring it all full circle.
I’m hoping for this short film to be my introduction into feature filmmaking, and use it as a calling card in the industry. I have no plans of making a feature version of IAAG, but hey if someone paid me to write it I’d do that in a flash. Ideally, next, I’d make my low-budget feature “The Many Deaths Of Wallace Badger,” about an emotionally-tortured guy with supernatural healing powers getting taken advantage of in LA.
Do you have any advice for emerging screenwriters looking to direct their own material, or find a producer/director for their short script?
I directed/produced a proof-of-concept for IAAG this past summer. It was partially a practice run to see if I could capture the energy and imagery of the script, and also to get interest and budget money for the short itself. For any screenwriters wanting to direct their own projects that don’t have any previous directing experience, I’d highly suggest it, even if it’s just one scene.
I hate to tell other writers to be social – because I hate it when I’m given that advice – but filmmaking is a social art form. You need people. You need connections. I used to have this very abstract and intense idea of “networking” through what people say in those inspirational Instagram reels or whatever, but it can be super simple. I found my DP and fellow producer through an acting class. My mom is my primary note-giver for all my scripts. Follow your interests, take a community college class or course to learn the basics of filmmaking, and SUBMIT YOUR WORK. To festivals, grants, competitions—please put it out there. I didn’t know I had a knack for writing until I submitted to competitions. It can be costly, so budget what you can (there are some free competitions if you look for them) and you’ll get rejections, but it will bring you a step closer to the people who will resonate with your art.
One more annoying tip is social media. Post about your scripts. Make moodboards, or fake posters, or cut together a fake trailer using other movie clips. Share your wins, even if it’s just a quarterfinalist placement. It’s always impressive. Watch who’s making it in the upcoming festivals and follow them, because they’re often not too far from the place you’re at.
Are there any lessons you’ve learned from your previous projects that will help you going forward with making your short film?
I tend to always feel like I’m running late during production, but always end on time or early. Maybe I just need a good 1st AD or maybe I’m just anxious. I’ll figure that out and hopefully chill out.
Check out the proof-of-concept for I AM A GENTLEMAN below:
Learn more about Nicky at https://nickycalloway.com/ and follow him on Instagram. Follow the film here.
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The 2025 Spring Shore Scripts Short Film Fund is now open. This season, we’re awarding another $15,000 cash production grant and $4,000 cash in finishing funds. Learn more here.
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