WHAT.

"Ryder Houston: future leader of the indie film scene on Rapture in Blue, labeling his new film 'queer,' and pushing the envelope."

February 4, 2020

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W: Ryder Houston is a young creator whose upcoming semi-length film (approx. 50 min.) Rapture in Blue is about to bring new camp, exploration, and darkness to the 2020 indie film scene. This is Ryder’s second film, his first being the 2018 short “Vamp Till Cue.”

 

What made you want to be a director? Would you say are a very creative person in life?

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RH: Ever since I was young, I have been interested in film. I was the kid that would be more enamoured with the behind-the-scenes than the actual movie. Pixar was a favorite, however I realized I don’t have the patience for animation. I’ve never considered myself a storyteller, but more of someone trying desperately to convey the things I feel through abstract measures. I guess that’s what an artist is. I got a little side-tracked with acting. It’s something I really enjoy, but I started realizing there were certain expressions and emotions I couldn’t get to come across in my face. I knew exactly how the story should flow, how the scene should read, but I had difficulties actually manifesting those thoughts into my performance. I found it easier to explain these things to actors. Actors who are more qualified with performing. Not to suck my own cock, but I do think I’m really creative. I draw, write, edit, make music, I used to sing and dance, etc. Maybe I wasn’t particularly great at the last couple of things, but I still found performing in general to be very cathartic. The Ouija board once told me I’d be a graphic designer when I grow up — I wouldn’t complain!

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W: Who or what are the main inspirations for your work?

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RH: David Lynch — that’s really evident. I fell in love with his film Lost Highway while writing the script for Rapture, and it really influenced the entire style and tone. That and the relationship I was in at the time. I love the idea of a neo-noir. You get to explore classical cinematic aesthetics and archetypes while telling a new story in a new place. It helps it feel timeless, in my opinion. It’s also made me realize there really aren’t any rules. And I’ve always been drawn to the bombast of horror/terror, so that’s a given.

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W: You describe Rapture in Blue as a "psychosexual thriller." The protagonist is a teen who is having complications with his girlfriend, while a new boy moves into his childhood home. What separates this film from other indie teen dramas?

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RH: I’ve seen films done by other people my age and they almost always leave me frustrated. They don’t deliver the goods. They don’t take you all the way. I believe in going big or going home — giving the audience the full fantasy (hence the name of my pseudo-production company). I think Rapture is an immersive film, be it as it may. It’s really a suspension of reality in a very dreadful kind of way.

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W: Do you find that films that have an "atmospheric, alternate reality" theme to them are more interesting than other “realistic, character-driven” films? Can they go hand in hand? What are your thoughts on this and labeling films as such?

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RH: I don’t believe one or the other is inherently true. Both styles can explore deep depths each in their own right. Labeling films this way is a dangerous thing, though. A label I am especially hesitant on slapping onto Rapture is “LGBTQ” or “queer,” since I think a lot of queer films made by people around my age are very superficial and just barely poke the surface. It’s always about bullying or not being accepted by your parents — which are big deals in reality — but are a lot of the times handled on screen in a very elementary way. The latter theme is actually explored in Rapture, but I think in a more doom-ish kind of way. I don’t treat the concept as something so suburban. It is a queer film, but it really isn’t.

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W: Since releasing the film, has it pushed you into a creative hole? 

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RH: Oh, God, yes. Sadly, creating a film of this stature — albeit merely half the length of a regular feature —is a horrible feat when you’re left with most of the work by yourself. The writing, the pre-production, coordinating every detail, budgeting and buying each prop out-of-pocket, then meticulously sculpting every element of the picture in post really takes a toll on your life. I’m not complaining — I wouldn’t trust anyone else to do! The best part, even though it was the most horrifying, was the shooting, itself. Directing and working with my generous crew was one of the most human things I’ve ever done. I'm sort of an isolated person in my everyday life. On set, we all knew it was do or die. It forced a change in personality — it was so refreshing. I can’t wait to do it again. Speaking of, I have already begun writing the next script — a full feature-length picture!

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W: How would you like people to view you as an artist?

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RH: Things just wanna be the way they wanna be — that’s something I started saying since we started production. I’m not gonna force anything. I don’t want to be seen as pretentious, a show-off, as superficial… I’m just doing what I want to do. I don’t control it. These things come out the way they were meant to be. It’s fate, that way. I believe in fate. See, that sounded pretentious!

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W: What can those whom have never seen your work expect from Rapture in Blue?

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RH: Rapture in Blue is a high-camp melodrama. It’s really up there — theatrical and surreal. It’s like that for a reason. I want to make that clear.

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W: When can we expect Rapture in Blue to be released? What platforms will it be available on? Have you gotten any attention yet from upcoming film festivals?

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RH: It’s all up in the air. I’m putting the finishing touches on it and it will be 100% complete come March. I would like to do a local screening March 12th, but I have to consider festival rules, or if I’m even submitting to festivals. I actually am seeking consultation on the topic as we speak. I know the film is an odd length, but it feels so right the way it is. It really covers all its bases in that regard. It’s just up to what others will think of what’s been done. I want to put it on Prime Video, but I don’t want it to die there. It’s all a risk, I just have to decide which is more worth it, and quick: a festival run or a public release. I say both, but it’s so complicated!