The Big Come Down


Gabe (Phil Bruenn) is late to hide a body for his boss (Christopher Tauren Bailey). He races to a dead drop to answer the phone, but realizes he’s being set up to deal with cataclysmic consequences. Now, Gabe has to rush to save Holly from his boss, but there are more than a few obstacles in his way.

” F i g h t ,   a n d   i f   y o u   f a l l ,   d o n ‘ t   d a r e   s t a y   d o w n . “

The Big Come Down Poster

Starring Phil Bruenn  and Christopher Tauren Bailey

Written and Directed by Tyler Hickman

Cinematography by Jarrett Bumgarner

Produced by Tyler Hickman

DIRECTOR’S NOTES : “Back in 2008, I caught wind of a film festival coming up: The One Take Film Festival. The concept of the festival was that the filmmakers were only allowed to cut in camera, no film editing in post. As soon as I heard that, I thought it would be easier and look better if we just did literally one take for the whole film. So, I wrote out a concept that became this film, but it wasn’t easy.

Our original filming location was the old police station in downtown Wilmington, NC, and we moved all the gear in the night before so we could just set up and film as soon as we could the next day. When we went to Jengo’s Playhouse to get our film festival rules packet, we learned that we had some guidelines that ruined the one-shot concept. We had to shoot across the river, and we had to shoot a bus stop sign. With a few tweaks to the script, we decided to go for it. With all that sorted, we headed back to the police station to prepare the shoot.

Problem was, when we got there, and started unloading all of our gear, the owner of the building strolled in with a crew of painters. Our contact at the station failed to tell the owner what we were doing, and of course threw us out. Stranded, struggling, with less than 36 hours to film and deliver the short, we almost quit right there and then. When suddenly, one of our crew members realized we could still film everything at a warehouse they had access to. So, we all drove over to the new location, mapped out the sequence as best we could in the very short time we had, and started rolling. It took us four takes to get everything right. The camera had to move inside, upstairs, downstairs, through a tight corridor, up a second flight of stairs, and finally end on a tight shot of Chris making the call. With all of the movements for the camera and actors, we were lucky we got it in only four takes.

Once we finished it, we added the music and titles and raced over to Jengo’s to drop it off. That same weekend, they played all the films and announced the winners. When Best Cinematography came up, we were thrilled to hear we won, and all raced on stage to accept the award. It was one of the most surreal times related to film I ever experienced, and I’d love to do something like this in the future.” –Tyler Hickman