An Interview with Jesse Edwards - “The Wildman of Shaggy Creek”)
- New York Film Awards
- 19 hours ago
- 10 min read
Jesse Edwards is a filmmaker driven by wonder, courage, and a deep belief in the power of story. His latest film, The Wildman of Shaggy Creek, winner of Best of Fest 2025 at the 9th annual NYFA, captured audiences with its gripping suspense, emotional honesty, and striking visual language, inviting viewers to step into the woods alongside Scott and confront fear head-on. Blending myth, childhood vulnerability, and heartfelt humor, the film reflects Edwards’ philosophy of storytelling that does not shy away from discomfort, but instead asks meaningful questions. As he puts it, his goal is to create films that “pull a viewer in, captivate them, and encourage them to ask better questions.”
In the interview below, Edwards opens up about his journey into filmmaking, the personal risks behind The Wildman of Shaggy Creek, and why walking toward fear became the heart of this unforgettable story.
Jesse, congratulations on winning Best of Fest 2025! Your film made all of us fall in love, hold our breath, and face our fears right alongside Scott.
Let’s go back in time for a moment, to the very beginning of your career. When did you first realize filmmaking was the path you wanted to pursue?
In December of 2001 I was 11 years old and I saw the Lord of the Rings and I was awestruck. I saved up, bought a video camera and was making movies with my 3 brothers ASAP.
You’ve directed campaigns for Disney, National Geographic, BMW, and many others. How have these commercial experiences shaped your voice as a narrative filmmaker?
Any experience will shape you, but one of the great benefits of creating for globally recognized brands is you are expected to execute a high level in everything you are doing. Working with teams at Disney will shape you and will make you better at everything you do.
The Stolen Valley, your debut feature, premiered at Nashville Film Festival and went on to win multiple awards. What did that experience teach you as a director entering the world of feature films?
That feature films are extremely difficult. They take years to make. And long after everyone else has stopped being excited about the project and has moved on, you will be left with the great burden, and privilege, of finding renewed passion for your film all over again, just so it can be finished. This is very difficult. And filmmaking takes more than people understand.
You gracefully juggle directing, writing, and cinematography. Which part of the process feels most like “home” to you, creatively?
Home is a weighty and very personal concept. I am the most unfiltered and likely most “myself” in the writing process. But I have the most lifetime experience and familiarity as a cinematographer. However, Directing is where I feel I am meant to be, where I can combine all of my instincts and experience to execute the creation of a film.
Many of your projects balance emotional depth with strong visual storytelling. How would you describe your overall filmmaking philosophy?
I try to make things that are generally great. I want my films to pull a viewer in, and captivate them while encouraging them to ask better questions. I believe humanity was created intentionally and we are deeply loved by our Creator. My filmmaking philosophy comes from this belief and the pursuit of capturing the wonder and beauty of humanity through meaningful stories that excite and inspire.
When you look back at your path so far, what’s the most meaningful lesson filmmaking has taught you?
Be patient.
Let’s talk about The Wildman of Shaggy Creek. What sparked the original idea for this story?
I met Rob York at the Zions Indie Film Fest in Utah. Rob is the author of the kids book that the script is based off of, and the story seemed to be something I could make cost effectively close to where I live in Nashville, TN.
You co-wrote the film with Scott Baird and Rob York. How did the three of you collaborate on shaping Scott’s journey and the mythology of Shaggy Creek?
The core of the plot was all there from Rob in the book, and his buddy Scott had put the work into a short teleplay. I expanded the work to a full length feature and added lots of character depth and humor into the script. Rob was a great collaborator in giving feedback all through this process.
Scott’s letter to his parents is one of the emotional high points of the film. How did that moment come to life during the writing process?
This was a delicate moment in the story, as I felt Scott needed to risk everything in leaving, so it was a stronger choice for him to leave if he didn’t tell his parents. But because his character is growing and learning to appreciate his parents at this point, he also needed to tell them about why he was leaving and make sure that they knew he was safe. There was also the challenge of making sure the audience still liked the parents and trusted that they weren’t being irresponsible.
All these factors made it a difficult and important scene to write.
The note itself is arguably too well writ for a 12 year old, and line was added to address that note as well.
The Wildman of Shaggy Creek is a visually stunning film, especially your use of natural light and shadow. What visual language did you want to create for Shaggy Creek? What were your guiding principles when designing the film’s look?
Thank you! There are a couple subtle but effective techniques we used to create a consistent and story motivated language for the cinematography. Limited camera motion was the first once. Only when Scott is in the woods is the camera operated handheld, and this contrast helps these scenes stand out. You instantly feel a little unsettled when cutting to a handheld shot. Another guideline was to film Scott and the kids from Wildman’s POV through the trees whenever we wanted to remind the viewer that the kids were being watched. This is subtle but very effective at communicating danger.
Can you share any creative dilemmas or breakthrough moments you’ve had, that helped shape the film’s final tone?
There were several along the way. One that comes to mind is in the music phase. The film was picture locked and we were scoring the ending scene when Scott comes back to school safe and sound. There is a line about Scott being “The Wildman” that was not landing correctly. If we played it serious it was pretty cheesy. But by changing the music and making a joke out of the line, we actually lightened the seriousness of the moment and created something that everyone could laugh at together. This awareness of not taking the film too seriously was great, and the same mindset got us through several long days on set as well. These projects can have profound impact and they matter deeply… but they’re also just movies. This is a very creatively liberating and actually encouraging concept for most Directors.
The pacing of suspense is remarkably precise. How closely did you work with editor Joe Bastien to craft the tension in the film so effectively?
Joe Bastien and I have worked together for almost 10 years, so we are very in sync on what feels great from a timing and pace perspective in a scene. I work very closely with Joe, but this film came together very quickly and all his instincts were spot on.
You live in Nashville with your wife and four children. Does being a parent influence the kinds of stories you feel drawn to - especially family-centered stories like The Wildman of Shaggy Creek?
Absolutely. It’s been a joy to share the film with my kids. They got to be in it as extras. They got to come to the premiere and walk the Red Carpet with me. They are such beautiful kids and their joy and wonder for life is infectious and has absolutely inspired my work towards things I know they will just be stoked to watch.
Hudson Hensley carries the film beautifully as Scott. What made him the right choice for this role?
Hudson has amazing energy and we knew he was right for Scott as soon as we met him! He was kind, warm, excited to work, and respectful to everyone. Allee-Sutton and I did the first call back with him and we knew right away he was perfect for the role.
Hudson and Ayla Bullington (Hailey) share natural, warm chemistry. How did you help them build that sense of connection on screen?
We created a couple key opportunities for them to rehearse together before filming. These touch points really do help. All of the cast connected really well right away which was amazing.
The young actors deliver remarkably mature performances. What was your approach to directing children in intense, emotional scenes?
It depends on the scene and depends on the day. Sometimes they nail it first take, sometimes they need more backstory and coaching on what their character should be feeling, sometimes they need less coaching and more praise, sometimes they need to hear it, sometimes they just need to work it out themselves, and sometimes they just need a snack. It’s not dissimilar from any other human.
The adult cast, including Allee-Sutton Hethcoat and Josh Futcher, deliver strong and nuanced performances, especially within a cast led mostly by young actors. How did you assemble such a cohesive ensemble?
Allee-Sutton and Josh are dear friends. We all worked together on my first movie, The Stolen Valley, so Wildman was honestly a sweet reunion. Allee-Sutton and Josh are both extremely talented performers and they make it look effortless. Because of a tight filming schedule and more priority time for the kids, the days with adults were about 15-16 pages in under 10 hours, and usually one or two takes to nail it… and they did. Most actors can’t do that.
Fear, and overcoming it, is at the heart of the narrative. What did you want young viewers (and adults) to take away from Scott’s journey?
I would hope people would look into their own heart after watching this and ask, what thing am I really afraid of doing? And what can I learn from this fear? I would hope kids would also gain some empathy for a parent, and see some of the battle a parent wrestles with in trying to be present for their kids when providing for them may often prevent it.
Friendship plays a crucial role in Scott’s journey as well. How important was it for you to highlight connection and trust in a story about confronting the unknown?
I think a lot of humans are feeling lonelier than ever. But I think part of that reason is real human connection is not easy. Real human connection is sharing genuine struggles with others, and empathizing with their genuine struggles. Humans want the easy button, and we get it for most things in our life. But some of the things we are most scared of are simple fears, like: does anybody like me? And if I move to a new town, get a new job, or turn the grand age of 40… will anybody like me?
Trust is a the foundation of a relationship and connection is the fruit of it. These are essential themes in any meaningful story, and I’m pleased they were able to come into focus in this film.
The film suggests that fear is not something to avoid, but something to walk toward. What does that theme mean to you personally?
The theme is why I made the film. I had been working on raising money for a larger budget film for months. But when funding fell through I had a choice to either fund a small movie myself, or continue trying to convince people that my film projects were worth investing into it. I was afraid of self funding this film with no assurance of how long it would take to see a return on the film. For me, I had to step into the woods of trusting my work was going to be enough, and at the harvest would be worth the toil.
What was the biggest challenge of bringing this story to life, whether technical, emotional, or logistical?
The biggest challenge was starting. There was a lot of questioning if I should I do this. I had set a deadline for myself of needing to make a movie that year, and that helped me make several scary phone calls asking people to come and be a part of the film. Allee-Sutton was one of the first people to say YES and this was wind in the sails to move forward with everything. Burdens are never easy when carried alone.
Was there a moment during production when you realized, “Yes, this film is working exactly the way I hoped”?
That never really happens until Post Production for me. Though there are always some scenes that feel like: oh this might actually work. I would say the first moment of clarity and excitement came when Joe cut the first Teaser Trailer and sent it to me. That felt huge.
Looking back, what was the most meaningful moment for you during the making of The Wildman of Shaggy Creek?
It depends on the day :) Right now, I remember being on set with Allee-Sutton and Josh Futcher and telling them about a very personal and difficult moment when my daughter had said some very hurtful words to me. Words she honestly was too young to understand. Josh is a new dad himself, and I shared this before we shot the scene of Scott yelling at his parents. It was really powerful sharing a personal story like that, and then seeing actors bring the emotion to life in a performance with their own soul into it. And then full circle, we relive that scene with 600 people at the Tennessee Premiere of the Film and we get comments afterward about how powerful that scene was and how much it meant to audience members to see the parents connect with, process hurt, and then repair damaged relationships with their children. This is why filmmaking matters. We can share our deepest and most personal revelations with a wide audience and inspire healing in our relationships because of it.
And finally, what are you working on now? Can you share anything about your next filmmaking adventure?
I’m currently fundraising for a very special project to shoot later this year, and I'm in Post Production on a new family film that I am very excited about. It’s a thrillingly silly Family Friendly Who-Dunnit called Robbery at the Rockvale Theatre.
Where can our readers follow you and view your work?
See my work: www.jessededwards.com
Follow for updates: IG @jesse.d.edwards
Send an email: hello@323films.com
