Welcome to the home of filmmaker Pablo D’Stair. Please feel free to browse around: all films are available to view, in their entirety, at no charge.  Cheers.

(to give some context to the films–what I do, how, and why–I present here the DIRECTIVES and MANIFESTO I create the films according to)


NO BUDGET: The total monetary cost of making the film, including acquisition of camera and recorder for sound, should not exceed $500. (Borrowing equipment that would exceed this amount if purchased is not permitted; however, Borrowing equipment that would be within these constraint is acceptable)

SD: The film must be shot in SD or, if shot in HD, any post processing toward a “signature” must not aim toward giving the film a cleaner/clearer look.

CAST: Ideally, only “non-actors” (preferably first time performers) should be used. However, provided all Dictates are followed, trained actors and/or individuals who have appeared in other films made according to Directives may be used.

DIRECTOR/WRITER: It is acceptable that there be a separate Writer and Director, the Director must also operate the camera, choose the photography, and edit both image and sound. If Director also performs in the film, Director may allow other parties to film, but cannot specifically dictate their photography–that is: a General Idea can be given to party operating camera, but their footage, unreviewed or reshot, must be used.

MINIMAL REHEARSAL (NO IMPROVISATION): While actors may individually prepare however they wish prior to shoot, rehearsal specific to shoot must only happen immediately prior to shoot on the day of—final footage must be attained immediately after rehearsal of scene. No improvisation is permitted (slight, in-the-moment alterations to script can be proposed/accepted by writer/director at time of shoot, only)

ON LOCATION/NATURAL LIGHT: Locations, other than in the most general way, cannot be scouted or blocked prior to the day of shoot—all photography decisions, in specific, must be made impromptu at time of shoot. No outside lighting etc. may be brought to location, though lights present at location can be arranged as one pleases. While outside props may be brought to location, location cannot be “built”—an existing location must be utilized with only minor, if any, dressing or alteration.

MAKE-UP/COSTUMING: No special make-up, costuming is permitted (with the exception that clothes/make-up that would be specific to the scenario—it/they then must not be doctored/applied outside of how a person in that situation naturally would wear/appear in it/them)

EQUIPMENT: Ideally, only one hand-held SD camera and one mic/recorder for sound should be used. Tripods, methods of affixing cameras to objects to attain shots are permitted. Multiple cameras and/or multiple mic/recorders can be used provided they are the exact same variety and quality.

ONE CAMERA/ONE LENS/ONE MIC: All footage must be captured by the same camera (and by the same lens—no change outs for close-ups, wide-angles etc). Multiple of the same camera/lens can be used. Likewise, all sound must be captured by the same recorder/microphone (including audio which is added over footage in acceptable ways) and multiple of the same recorder/mic may be used to capture sound.

NO RE-SHOOTS, OVERDUB: All footage for a character in a particular scene must be captured in one session (including pick-up/inset shots etc.) This extends to sound, which must be recorded at time of performance—no overdub may be added to a scene that was performed live (scenes where voiceover is added to footage that is not meant to be in-the-moment performance is permitted).

EDITING: Only software that is available free-of-charge to be public may be used to edit the film and sound. Note: the solitary exception is that One extra program may be used, if necessary, to complete Signature, but must be used minimally and specifically (i.e. to set aspect ratio or to overlay filter/wash needed for Signature). The purchase of any second editing program must be accounted for in Budget.

SIGNATURE: A specific, post-filming alteration must be applied to the entire film* and this wash/filter/alteration must be applied in the same measure to all scenes in the film without specific tweaks or alterations based on scene specifics. *The only acceptable alternative is that no manipulation to footage at all be made, though this is not preferable. The application of the “signature” to the entire film is meant to keep the filmmaker from knowing/specifically controlling the final appearance of the film at time of shooting.


Someone moved the chairs in the dark…There, it was a time when the lines were drawn and struggle was virtue to virtue; there, it was the UNDERGROUND and the ESTABLISHED and each had dignity befitting and conversation guided, communication…There, it was a time when one would speak and borrow to and of the other, each could cross and find a compromise that swelled and volumed the other, UNDERGROUND, ESTABLISHED…but, these wicked times, times, these wicked times, ours… ESTABLISHED have found a way to steal even from compromise…Oh, it was expected, understood when the Underground might have to struggle itself in the direction of what ESTABLISHED had—funds, access, eyes in ITs direction, stalks toward light above—when UNDERGROUND would fight to clothe ITSELF in these things to create what would radiate ITS difference, ITS opposition, would bold ITS aesthetic and the ESTABLISHED would be weakened as much as strengthened for the exchange…but, these wicked times, ours, these, have found a way that UNDERGROUND is rused into turn-pocketing outs ITS Aesthetic—for there seems no betrayal, no giving up—oh, these, our, wicked times…with increasing progress of technology and means, a telephone and a bit of dough, a favor and a bit of luck could turn a pocket camera and a backyard into a studio with green screen and (these wicked times) the necessary difference came lost to UNDERGROUND, ESTABLISHED…this is not a progress of voice, these times, but is those in the UNDERGROUND supping poison, the mortal unction of being able to, for nothing (oh, does it not seem—but truly at what an expense!) produce the Aesthetic of the ESTABLISHED and find bed and comfort in ITS arms…yes, the temptation is there for the UNDERGROUND to do what the ESTABLISHED has already and does still instead of awaying from IT…for the UNDERGROUND can do this, as anyone can, as the difference between Aesthetic is no longer shuttered and made exclusive by funds, by access…the UNDERGROUND has been duped into believing IT was once (ever) the Other, the Lesser, and must wake, now, hungry and angry and demand ITSELF be what IT is…we cannot be given our definition by the presentations of the ESTABLISHED, not pride ourselves in how well we can peacock in a mimic, have of us said the same things, earn the same praises (yet still, we know, be thought lesser, only coddled because we fan the flames of a shyster’s vainglory)…no…no…the UNDERGROUND must shake to be ITSELF and make remember ITSELF contra the image of what even may be natural, even may be organic to ITS individuals pure dreamt ideas…the ESTABLISHED have taken the rose from the fair forehead of the maid and set a blister there!…the UNDERGROUND must glory in turning from access to the aesthetic of the ESTABLISHED, must know that the denial IS the Essential Self…as the gulf in what a film, UNDERGROUND, ESTABLISHED can look like, sound like, shortens, shortens, overlaps, becomes nonexistent, it is in the court of the UNDERGROUND to make the chasm wide, an imperative Hellmouth, a hungry-toothed pit that the ESTABLISHED will not only fail to cross but give up all pretense of desire to…Oh, the UNDERGROUND has hard losses of late, has victimed ITSELF for a blasphemous halfpenny of looking like someone else’s mirror…and it is time to rename ITSELF Corpse! and Haunt! and find New Cemetery’s to strew with ITS own histories for the eyes of the lowliest lost…that Cinema can be made as accessible to Artist as pencil and paper must never be mistaken for something that allows it to look like perfect bound presswork…the Identity must be made full in its every respect without beg or borrow and without nod for acceptance…a slant must be set and a shun…the UNDERGROUND must be IT because IT buries ITSELF in the dirt of ITS pure soil, must grow downward ITS roots and let be regardless of the ESTABLISHED set preening as flowers from ITS back…the New UNDERGROUND is to dig backward by handful and shovelful the grave that accidental deception unburied…we need to be the bodies buried that make the tombstones and stone angles ministering worthwhile…the UNDERGROUND must be what the ESTABLISHED know is below them and to what they, like it or not, with every mortal breath strive to attain but which they know they will not see for all their eyes skyward…this is the Cinema of the new, starveless worms!

Pablo D’Stair (October, 2016)