The Phone Booth – This Group of New York Film Students Is Set to Make a Feature

The world is full of tough obstacles, especially for filmmaking prospects who will inevitably face tough competition in the arts and entertainment. However, this group of film students-turned-filmmakers is not only unafraid of these challenges but also embraces them, using uncertainty as their motivation. Their upcoming feature project, The Phone Booth, written and directed by Columbia University film graduate Trevor Siegel, has raised $80,000 to date, with the goal of reaching its $400,000 target through investor support. Regardless of whether they meet this goal, Trevor and his dedicated crew are prepared to begin shooting this fall in 2026.

His crew consists of producers Molly Bynum (another Columbia alum, who was Trevor’s college roommate), Conner Lorenz, and Bryson Mustard (currently enrolled in NYU’s Tisch School for the Arts). These four recently sat down for an interview to discuss their project, filmmaking methods, work philosophy, and give insight for anyone seeking advice on how to get started in this wacky world of art and entertainment.

What was the first impulse for The Phone Booth – was it born from something personal, or did the concept come first?

Trevor: The first impulse was wanting to make a film not only about communication but also why it’s important to open up to people. It seems people these days are scared to be open with others about what truly matters. I think human emotion is a powerful tool that we often lock away and are scared to engage with. I would say the concept came first, but being a proponent for things like therapy, friends, and family are personal components that are relevant as well.

You cite Wes Anderson’s stylized charm alongside the emotional warmth of classic Amblin films. How do those influences shape your visual and tonal choices, and how do you maintain your own style?

Trevor: I love Wes Anderson. The mix of his work and Spielberg – like The Goonies, for example – makes me want flat, symmetrical camera placements punctuated by sudden dynamic movements. At a crucial emotional moment, instead of keeping the camera distant, as Anderson would, we curve or fly the camera into a wide-angle close-up. We’re not copying the placements or movements; instead, we add a different rhythm. It’s never too still like Anderson or moving too much like Spielberg; we accentuate the story just right with the stylization. My producers always let me know when I’m doing something crazy.

Molly: One thing I can say about Trevor’s style is that he’s using all these camera and directing elements just mentioned, but there’s an emotional core within them. It’s never stylized for the sake of it; instead, it enhances the substance. We’ve all seen that shine in his filmmaking.

Trevor, you’re from New Hampshire, where the story is also set. What are the unique emotional qualities of the setting that you feel are aligned with the film’s concepts?

Trevor: I set the story in New Hampshire for a couple of reasons: A) I was inspired by my hometown, obviously, and B) The storybook quality is heavily inspired by Thornton Wilder’s Our Town, which is a metafictional play about a small New Hampshire town. However, the stories are about different things. I personally wanted this set in New Hampshire because I wanted a small cast that could represent every aspect of humanity. I love how small towns, when seen from a distance, are encapsulations of everything that makes us human. We get to the main street where everyone hustles and bustles, people are going in different directions, yet everyone knows each other. They can all communicate, and yet they also hold back. There’s a sense that no one is putting on a façade in small towns like what you see in big cities, because you can’t just pretend in front of strangers – everyone knows you. One of the core concepts is the fear of opening up, but once you do, it becomes something beautiful. That’s complemented by the scenery that looks like a storybook come to life.

Conner: I’m also from New Hampshire, so for me, it’s about a feeling of community. I remember moving out of my home state and expecting places to feel the same, but weirdly, I felt lonely elsewhere. It’s tough to build a community feeling in a big city environment, but it’s natural in a small town, and that’s important to the story and people in general.

What does the film suggest about people’s capacity to truly hear one another?

Trevor: This film shows that we’re all scared to show our true feelings to people and talk with one another. We are afraid to show extreme emotions because we think that will scare people away. We understand that grief is a universally felt emotion, but when we actually feel it, we’re convinced that no one should know how we’re feeling. The film is about bridging that gap.

Your projected budget is $400,000. How does the reality of a limited budget influence the way you tell this story and go about production? Are you rethinking any approaches or strategies?

Bryson: With our anticipated budget, we currently have about 15% of it. We will begin shooting in the fall, even if it means downscaling our production. That means we’ll substitute sweeping shots and dynamic camera movements for scenery that lends itself naturally to Trevor’s vision. Instead of constructing our fictional world, we’ll find places where that world already exists. With casting, SAG allows us to scale down if need be. Regardless, there’s a lot we can do because we have a passionate cast and crew.

You’ve confirmed some actors and actresses for the project, such as Gordon Clapp, Naheem Garcia, and Michelle Dunker Arkin. How did you go about casting, and why did you choose these performers specifically?

Trevor: When I was 12, I acted in a play of A Christmas Carol as the kid ordered to get a turkey, and Scrooge was played by Gordon Clapp. That was a big deal considering he was an Emmy-winning actor, but he was a New Hampshire local. Then, last year, I was a production assistant on Poker Face, and Gordon was there, too. Somehow, he recognized me, and we caught up. On a whim, I sent him an email, asking about acting in this film, and he said, “Hey, Turkey Boy! Sounds interesting. Let me know more.” Michelle Dunker Arkin is married to Adam Arkin, one of the directors/producers of season two of Poker Face. I was just a PA, and Michelle took an interest in my college films. She said she would love to be in one of my works. 

Conner: I got Naheem Garcia on board. I was lucky to have a mutual connection, and we told him how much we loved him in The Holdovers. Lucky enough, he responded, and loved our script. That’s been our secret weapon; people love the script.

Bryson: I had actually met Naheem at a Boston film panel before we discussed casting him. When I did, he said he could’ve sworn we had already met – it’s part of his charm. When we contacted him, he remembered that brief interaction. That’s the beauty of a small New England community.

How do you communicate tone and trust to actors when working on an independent production with limited resources?

Trevor: Great question. I often tell my cast that we’re not going to cut much; I want them to feel like they’re in a play. I’m not going to cut around their performance; I’d rather the camera move around the character, interacting with the performance, rather than cutting to the actor.

Molly: It’s worth pointing out that there’s a fun energy when actors work with a young, fresh team. We’re coming at it with excitement to step into the industry, but there’s a youthful hope that resonates on the set.

Being that you’re recent Columbia film graduates (at least two of you), how has the student experience shaped your perspective, and how have university resources helped with this project?

Trevor: Columbia University taught me how to be a filmmaker; if I want to convey a certain emotion, here’s the appropriate shot angle to do it. I had great professors who taught me how to use all the elements – cinematography, props, wardrobe, etc. – to tell a story. The shorts and one feature I made at school taught me what it feels like to be a filmmaker. We’ve reached out to instructors, but understandably, they can’t all help. It just motivates me even more to make this film, come back to them one day, and say, “Look at what we made.”

Molly: The community of the film program gives a strong sense of connection. Compared to other programs, it’s very theory-and history-heavy rather than production-focused. However, that gave us such a strong appreciation for how we approach our stories.

Bryson: I’m a NYU student, and we rival Columbia a bit, but the networking is huge for me. Asking professors questions and telling them we’re trying to get resources for our production is great, since they’re also working independently on their projects. It’s all about the people you meet and the opportunities possible because of connections.

You’re still working on raising $400,000; haven’t quite reached it, but you’re committed to start filming this fall. What does that commitment mean to you?

Trevor: The commitment scares and thrills me. It means everything I’ve put in motion will run full steam. No matter what, we’re going to make this movie, and the words I wrote will become visuals. It feels like I’m chasing the dream, and the fact that I get to work with all these artists who are ready to get started, regardless of meeting that budget, means that I have the right team.

Budgets and limited resources are stressful hurdles for emerging filmmakers to navigate and can often lead to uncertainty. How do you manage uncertainty while leading a project like this, and if a student were reading this, what would you tell them about how to keep building momentum?

Conner: A good friend of mine said that the most content people in life are the ones who embrace uncertainty. You must be comfortable living with it, so I would say that everyone’s uncertain. A lot of the time, it leads to the best creativity.

Bryson: All the uncertainty – investors dropping out, changing their minds, etc. – keeps us going. One of my favorite sayings is, “No mud, no lotus.” All these things are getting us to where we need to be, and the hardships make it worth it.

Molly: No one is getting into indie films to make big bucks; it’s just not the reality of the situation. The point is the project. Having that grit to make the film you want is the most important thing because there’s nothing else we want to do. There is nothing else I am as happy to do right now.

Trevor: I would tell people that your project can’t just be another movie. To you, it must be the most important thing in the world, and that will rub off on people. To build momentum, you must have confidence in yourself. Even if you can fake confidence, that can work, too. You can make people believe in your vision if you make them believe that you believe. Make sure you have a good support team to help you, and I’m grateful every day to have my crew.

If you want to support this production or get involved, please feel free to contact Trevor Siegel at tisiegel@gmail.com