What’s one thing you wish you knew when you first started your career?
That no one really knows what they are doing and that the difference between the student and the teacher is consistency. The power of being consistent, relentless, and passionate in one creative discipline is something that is being lost today. The only way to be really good at anything is to obsess over it for years then you might have a chance at being great at that one creative thing.

What feels like it’s gaining momentum in the industry right now?
Hyper-local storytelling with global impact. More creators are tapping into their roots and telling culturally rich, specific stories that still resonate across borders. That kind of honesty and nuance is what’s driving the creative wave right now—and I’m here for it.

What have you seen recently that has fueled your creativity?
The Substance was a film I recently saw and was blown away by the premise, direction, and storytelling. It activated so many parts of my mind and forced me to think about how I could tell a story in a cosmic yet interesting way. It was a film that never felt huge but tackled big ideas in a smart way.

What was the biggest pivot you had to make when working on a project?
On Sugar Dumplin, our main food cook fell through at the last minute. Since Jamaican food was essential to the storytelling, we had to rebuild the scene from scratch. It took all of my emotional and physical focus to problem-solve each element. In a beautiful twist, my father stepped in as the film’s cook—and it ended up being more intimate, more authentic, and one of the best creative detours we’ve ever taken.

What’s your dream project?
My dream project would be a dramatic feature film starring Denzel Washington. It would have the emotional depth of Moonlight with a storyline rooted in the soul of The Color Purple, but with lighter, hopeful undertones. That kind of film would be a dream to create—with rich performances, a powerful narrative, and a crew of passionate collaborators all bringing it to life.

What are you looking for when reviewing entries at the Davey Awards?
I’m drawn to work that feels lived-in—stories or visuals that carry emotion without over-explaining. It’s not about budget; it’s about heart. I look for clarity of vision, cohesion, and whether the piece leaves an emotional fingerprint behind.

Tristan is getting ready to review big ideas from small shops. Submit your projects to the jury before the Final Entry Deadline on Friday, July 25th.