Director Brendan Gabriel Murphy Talks ‘Fluxx,’ Working with Tyrese, and Why Indie Filmmaking Demands a Warrior’s Mindset
“One of the best pieces of advice I ever got was from the director Danny Boyle… He said, ‘Brendan, the most important thing about being a director is finding your style, building your unique voice.’ That really stuck with me… I really feel like when you watch a Brendan Gabriel Murphy film, it feels like I directed it. No matter what the genre is, you can still see those elements that make it uniquely mine.”
I had the pleasure of talking with Brendan Gabriel Murphy. Brendan is an American filmmaker whose career has been defined by persistence, adaptability, and a consistent interest in storytelling that explores psychological tension, human vulnerability, and existential stakes. A director, producer, and screenwriter, Murphy has worked across feature films, television, branded content, and commercials, with a portfolio that spans genres and mediums while remaining rooted in a personal artistic vision.
Born in 1978 and raised in Suffern, a small town in Rockland County, New York, Murphy grew up in a household of educators. The eldest of three children, he discovered a deep affinity for cinema early in life. A formative experience came at a local drive-in where, as a child, he saw The Goonies and The NeverEnding Story in a double feature — an evening he recalls as the moment he became “hooked” on the transportive possibilities of film. By age eight, he had already written in a school biography that he wanted to be a director and producer.
Murphy studied film at Hofstra University on Long Island and began his professional career in television, including early work with the YES Network during its launch. He spent 25 years working as a professional editor, experience that would later shape his directorial style and post-production sensibility. A pivotal chapter in his life came during the September 11 attacks; Murphy was in Lower Manhattan, camera in hand, capturing footage of the first tower’s collapse — a traumatic event that eventually led him to leave New York and pursue filmmaking more seriously in Los Angeles.
Arriving in LA with minimal resources, Murphy began assembling short films with friends and collaborators, gradually building momentum. One of his early projects, shot by his brother Kieran while still in film school, won the Venice Beach Film Festival. That win marked the beginning of a series of accolades that would help elevate his standing within the independent film community.
Murphy’s work has been profiled in Variety, Deadline, Rolling Stone, and The Hollywood Interview, and he has been featured in The Top 100 Indie Filmmakers in the World. A co-founder of Altered State Entertainment, he is also a member of the Producers Guild of America.
Among Murphy’s most recognized projects is Swerve, a short film featuring performances by Shiloh Fernandez and Juno Temple. The film garnered five major festival awards and secured three distribution deals. His feature debut, #Lucky Number, starred Method Man and Tom Pelphrey and earned worldwide distribution through Vision Films. More recently, he directed History’s Greatest Heists, hosted by Pierce Brosnan, for the History Channel and UFO Witness for Discovery+.
Murphy’s latest project, Fluxx, is a psychological thriller that stars Tyrese Gibson and Shelley Hennig and is scheduled for theatrical release May 30th, 2025. The film, which blends drama, sci-fi, and horror elements, has already won a dozen festival awards and secured North American distribution through The Forge. Its production journey was marked by significant setbacks, including the mid-shoot withdrawal of a key investor, which forced the production to be put on hold until Murphy raised the rest of the financing a year and a half later. The experience, he has said, was both humbling and transformative.
In addition to narrative films, Murphy has directed commercials and branded content for global clients such as NIKE, Amazon Prime Video, KANE Watches and Leyline Games, shooting across locations in Europe and Asia. His campaign work for networks including NBC, FOX, and CBS has involved collaborations with television executives and series regulars, further broadening his industry reach.
Murphy’s upcoming feature, Blood Behind Us, stars Michael Madsen and Jaime King. Slated for global release in 2026, the western thriller is currently in post-production. He has also recently co-directed The Tailor of Sin City, now streaming on AMC+. His next feature, a psychological horror titled Nocturnal, is set to begin filming in Europe in summer 2025.
Despite his growing filmography, Murphy maintains a grounded approach to storytelling and filmmaking. He credits his acting studies at the Lee Strasberg Theatre and Film Institute with helping him better communicate with actors — a skill he considers essential for any director. He also points to his editing background as a critical asset in shaping narrative flow and pacing.
One of his guiding principles, shared with him by director Danny Boyle, is the importance of developing a distinct directorial style. Murphy believes that building a recognizable voice is not just an artistic choice but a practical necessity in an increasingly competitive field. He also emphasizes preparation and financial discipline, advising aspiring filmmakers not to begin production until a budget is fully secured.
Murphy’s body of work reflects both personal tenacity and a willingness to evolve. He has publicly embraced the potential of artificial intelligence as a filmmaking tool while remaining cautious about its implications on creative labor. His outlook on technology is pragmatic: embrace it, understand it, and find ways to incorporate it without losing the human connection at the heart of collaborative filmmaking.
Now based in Los Angeles, Murphy continues to work closely with his brother Kieran, his cinematographer and business partner. He remains an advocate for independent cinema and encourages audiences to support smaller films, citing the importance of audience word-of-mouth in a market increasingly dominated by major studios and streaming platforms.
Yitzi: Brendan, it’s so nice to meet you. Before we dive in deep, our readers would love to learn about your personal origin story. Can you share the story of your childhood and how you grew up?
Brendan: I grew up in Rockland County, New York, about a half hour outside of New York City, in a town called Suffern. My parents were both school teachers. I’m the oldest of three siblings, and I was really into film and TV from a very young age. I was just obsessed with the movies.
There was a real turning point for me when my parents took us to drive-in theaters, back when they were still around. I was born in 1978, so in the ’80s, drive-ins were still a thing. One night, they took me to a screening of The Goonies at a drive-in. It was a double feature. I got through The Goonies and was completely blown away by it. There were kids in the movie who were probably just a few years older than me, and it was an adventure story that captured all the magic I loved about film. It transported me to a different world, and I became obsessed.
After The Goonies, I didn’t even realize there was a second movie. My parents had fallen asleep in the front seat, and I stayed up for the next film — The NeverEnding Story. At the time, I thought it was even better than The Goonies. I was completely mesmerized. From that point on, I was hooked on cinema, films that transported you into alternate realities. That’s really where my love for movies began, probably around 1984 when I was about six.
I remember when I was eight, we had to write a biography about ourselves in third grade. I wrote that I wanted to be a director and producer one day, to see my name on posters and marquees. And here I am, almost 40 years later, making that little boy’s dream come true.
It was a cool upbringing. I went to high school in New York and studied film as an undergrad at Hofstra University on Long Island. After that, I started working in the city for a television show. I helped launch the YES Network for the Yankees and worked various TV jobs as a professional editor. I’ve been editing professionally for 25 years.
I was in the city during 9/11. I actually filmed the first tower coming down — I was a block away. I gave the footage to the FBI and signed a report with them. I stayed in the city for about a year afterward, but it was incredibly heavy. Just seeing the faces of all the missing people everywhere, it really wore on me. I realized I had to make a change.
I decided to try the film thing seriously. I’d been doing a lot of TV in New York, but I wanted something different. So I moved out to LA with just a few dollars in my pocket, crashing on a buddy’s couch — and I basically had to start over from scratch.
From there, I started piecing together short films with some friends. Each one kept getting a little bigger. My brother Kieran was in film school in Syracuse at the time, and he shot one of my shorts that ended up winning the Venice Beach Film Festival. We filmed it, during his summer break, so he won a festival before he even graduated.
Each project just kept growing, and I started winning more awards and working with more established talent. Eventually, that all led to making feature films.
Yitzi: You probably have some amazing stories from the different parts of your career, working on amazing projects. Can you share with our readers one or two stories that most stand out in your mind from your professional life?
Brendan: Let’s see. The first one that comes to mind isn’t exactly a happy story, but it’s probably one of the most difficult situations I’ve had to navigate professionally. It happened during the production of the film I’m promoting now, my psychological thriller Fluxx.
We were shooting the entire film in Oʻahu, Hawaii, and in the middle of production, one of our investors completely backed out. This was someone we’d been working with for months, with contracts in place. That investor was responsible for half the financing. So right in the middle of filming, we lost half our budget.
At that point, I had to scramble to raise money just to finish the last few days of production and try to get a few more scenes in the can. I sold all my assets and put every dollar I had into the movie, including my entire salary. Even with that, we couldn’t clear all the debt or fully finance the rest of the shoot.
I had to return to Los Angeles and regroup. It took me a year and a half to raise the remaining funds to finish the film. It was incredibly stressful. This was my first feature that I was also producing, so I really got a crash course in what producing entails — figuring out how to pay off debts while also keeping the movie alive.
The silver lining during that period was that we managed to bring on Tyrese Gibson once we got back to LA. That was huge. He’s been in some major franchises, and getting him on board gave the film a serious boost.
That whole experience — losing funding, fighting to finish the film, and still bringing in major talent — was by far the most difficult and instrumental moment in my career. Being the Captain I didn’t want to fail. I couldn’t let the ship sink. I gave everything I had to that movie. It drove my wife crazy, honestly.
But what kept me going was that my son, Rowan, was born during that time. His arrival gave me a whole new kind of motivation. It wasn’t about ego anymore. It was about providing for my family, making this dream a reality, and turning it into a sustainable career. It was humbling, but powerful.
The second story would be a more recent and pivotal moment. I just picture-locked my new film, Blood Behind Us, and I got to work with Michael Madsen. I’m a huge fan — he’s one of Tarantino’s go-to actors and has been in so many iconic films.
Working with him was incredible. We had a great rapport, and I think we got some amazing work out of each other. He actually told me it’s the best performance he’s given in the last ten years. Hearing that from someone like him meant the world to me.
We pushed each other creatively. His performance in this film is absolutely mind-blowing. Beyond that, getting to sit with him, hear his stories, talk about his work with Tarantino and other legendary filmmakers — it was surreal.
I think he trusted me, and we built a real friendship. I’m proud not only that I got to work with someone I admire so much, but also that he respected me. When you’re a director working with an actor of that caliber, someone who’s collaborated with the best directors out there, they can walk all over you if they don’t respect you.
But we had mutual respect, and that’s what brought out the best in both of us during the making of this film.
Yitzi: It’s amazing that you brought that up. I always wondered that. Have you heard stories like that — without saying any names — where a big-name actor just walked all over a fresh director?
Brendan: Many stories. Yes, absolutely. Big actors, both male and female, can make things really difficult for younger or newer directors if they don’t respect you or think you have your shit together.
Excuse my language — I might cuss here and there, that’s just the New Yorker in me — but yeah, if they don’t see you running the set properly or if they don’t trust your vision, they’ll take charge and walk all over you. That’s why the key is finding that balance.
You don’t want to be a dictator. You want to be a collaborator. But you also have to let everyone know you’re the director, you’re in charge. This is your vision, and everyone needs to be on board for the ride. And that’s what it is — it’s a ride. It’s a lot of work, and it’s extremely challenging.
Directing is really just advanced problem solving. It’s constant issues — problem after problem. There’s this great quote — I’m not sure if it’s from Scorsese or Spielberg — but it goes something like, “The hardest part of directing is getting out of the car in the morning and stepping on set.” Because the second you do, everyone needs something from you. All the problems hit at once, and you’ve got to start navigating immediately just to stay on track and make your day.
Especially on an independent film, where every dollar counts. On the studio level, you might have more leeway and extra days, but with indie films, you get what you can. When the day’s over, that’s it. You move on, and chances are you’re not coming back to that scene.
Yitzi: You have so much impressive work, Brendan. You touched on this a bit already, but can you share with our readers more about this exciting new movie you’re releasing — and why we absolutely have to watch it?
Brendan: Fluxx is definitely a unique film. I’m really proud of it. To me, it’s a wild rollercoaster ride. It’s a psychological thriller, a real mind-bender. I love those kinds of films, the ones that make you think and keep you guessing about where the story’s going.
With psychological thrillers, that unpredictability is part of the fun. They’re meant to be cerebral and are often designed to be rewatched, so you can catch all the little pieces you might have missed the first time. I hope Fluxx has that rewatchability. I’ve seen it thousands of times myself, and I think it does.
What makes the film unique is that it blends multiple subgenres. It’s got drama, a horror sequence, a sci-fi sequence — all layered under the psychological thriller umbrella. The story follows an actress who’s having a really hard time in the industry. Some of her struggles are due to the environment she’s in, but a lot of it is also her own undoing.
Because of everything she’s going through, she starts confusing her real life with the roles she’s playing in the movies. That’s what makes it so interesting — it becomes this cerebral, wild, fun, and crazy ride.
Yitzi: Amazing. Does it help you or hurt you that a very popular AI generator is called Flux? And that there’s another movie with Charlize Theron that has the name Aeon Flux?
Brendan: Oh yeah, Aeon Flux. I remember that one. It was based on an animation series back in the day on MTV.
No, it doesn’t bother me at all. My film uses two X’s — Fluxx. I thought the title was cool and stood on its own. The idea was that she’s “in flux,” and the double X just gave it a little edge. As for the AI generator, I think that actually helps create more buzz for the movie.
I’m a big fan of one-word titles. Most of my films have them. Not the newest one — that’s called Blood Behind Us — but the one I’m filming this summer is back to a one-word title: Nocturnal. I just like the simplicity. One word, boom — it’s easy to say, easy to remember.
I thought Fluxx sounded weird and cool in a way that might grab people’s attention. Like, people might see the name and go, “Fluxx? What is this?” I’m hoping that intrigue gets more people to check it out, just because the title sounds interesting.
Yitzi: I saw on IMDb it’s already at 7.6. That’s amazing. Nothing hits 7 right away anymore — everyone’s so cynical. Everything immediately gets rated like a five.
Brendan: I know, I know. There’s such a big divide now between the press and the viewers. You see that all the time on Rotten Tomatoes — critics give one rating, and the audience gives something completely different.
I just want Fluxx to find its audience. That’s the key. Word of mouth is everything, especially for independent films that don’t have huge marketing and P&A budgets.
The film is about 100 minutes long — so just a little over an hour and a half — and it moves. It never stops. It’s fast-paced, and I think once people start watching, they’ll be hooked.
Yitzi: Amazing. What message or lessons would you like society to take from the motifs of the film?
Brendan: To me, the film really hits on themes of mental illness, drug and alcohol abuse, and the idea of fighting for success at all costs. The mental health aspect is a big one. It’s obviously a hot topic right now, but I didn’t focus on it just because of that. I’ve personally dealt with severe anxiety since my twenties, so I pulled from my own experiences. A lot of the main character is just me — how I feel about things and what I’ve been through.
Sometimes, when you let mental illness take over and don’t seek help, it can lead you down a dark path. That path often includes substance abuse. Our main character deals with all of that. It’s almost like, why didn’t she go to therapy? Why didn’t she do the work on herself? Why did she choose this path? But I’ve seen people go down that same road. It’s destructive.
Did the industry give her a bad deal? Yes, definitely. Could she have navigated it better? Also yes. And in the end, she takes this extreme and violent approach — but I don’t want to give too much away. I just found that topic really interesting, especially in the entertainment industry, where depression, anxiety, drug abuse, and alcoholism are rampant. It’s heartbreaking to watch people go down that road without doing the inner work to realign their mental state and get back on track.
Those millions of rejections and being taken advantage of can either crush you or fuel your growth. But it’s hard to navigate any of it if you don’t have the strength or the right people around you to support you through those tough times. That’s really what the story’s about.
The industry is brutal, and it’s harder than ever right now. We came out of COVID, then got hit with the writers’ strike, then the SAG strike, and productions fled. It’s had a huge trickle-down effect. Los Angeles productions are at an all-time low, and it’s affecting the rest of the country and even other countries. There’s just less production happening overall.
Sales are down. They’re not hitting the same numbers, and MGs are way lower than they used to be. Maybe the studios are doing okay, but for indie filmmakers, you put your blood, sweat, and tears into these projects, and then you get these low offers. And you wonder why. But it’s because everyone has had to cut back.
Hopefully the industry realigns itself. So much has changed with streaming, and now everyone’s trying to make sense of all the chaos. It’s a weird time to be coming up and finally starting to see some success as a director and producer. I could’ve been coming up in the ’90s, and that would’ve been a totally different story — big checks, a different climate. Now, it’s much, much harder to make and sell movies.
Yitzi: Have you seen Google’s recent release of the latest video generator, VO3? As a director, what are your thoughts about that?
Brendan: Funny enough, I was actually looking at it today. I’ve been exploring different AI tools like Runway. I haven’t played around with the Google one yet, but I’ve used Runway a bit. I don’t hate AI.
Is AI a threat? Yes, for certain jobs it definitely is. But it’s also a tool, and I feel like everyone needs to embrace it. If you don’t, you’re going to get left behind, just like with the internet in the ’90s. There are ways to use it to your advantage.
Can AI write scripts? It can. But are they going to be good? I don’t think so. It’s incredibly hard to replicate human emotion. AI is just pulling from other scripts that already captured those emotions.
The video generation stuff I’m seeing looks pretty impressive. The stories themselves are pretty weak, but I think AI can be helpful for live action — like filling in missing pieces, cleaning things up, maybe even helping with a first pass of an edit. It can definitely save time and money.
But as a creative, you’re going to fall behind if you don’t at least understand it. The old-school model of filmmaking is changing so fast, and you’ve got to stay ahead of the game. I’m not saying I’m fully embracing AI, but I’m making an effort to understand it so I can eventually use it as a tool.
That said, I don’t want it to replace the human connection I have with my collaborators. I love that part of the process — working with a team, all the crew members, departments, producers and writers. There are so many people involved in bringing a film together. I’m not a one-man show, and I’m really grateful to work with some of the same people again and again.
I love that collaboration. But you’ve got to at least understand AI because there’s no slowing it down. It’s only getting more powerful, smarter. At some point, I think AI will be smarter than the average human — maybe even smarter than the top geniuses in the world.
Hopefully, we can still find a way for humans and AI to work together and coexist without ending up in some kind of Terminator scenario. I’m sure that scares a lot of people, but it is what it is. It’s progress.
People ask me what genre I want to do next, and I keep saying sci-fi. I’m excited about that. But the crazy thing is, we’re already living in a sci-fi world. Everything we’re seeing now — flying cars, flying motorcycles, robots — it’s all stuff I grew up dreaming about. And now it’s actually happening.
Soon, we’ll have bionic body parts. We’ll be cyborgs with tech that helps us live longer. I’m all for change and technology. I just want us to coexist with it. I don’t want it to dominate us or wipe humans off the face of the Earth. I’ve got kids, and I want them to live long, healthy lives even after I’m gone.
Yitzi: Amazing. Okay, this is our signature question. You’ve been blessed with a lot of success. You must have learned a lot from your experiences. Can you share five things that you’ve learned now that you wish you knew when you first started in the industry?
Brendan:
Number one, do not start a project without the money being in the bank account. That’s the biggest one. A lot of indies are chasing money throughout the production, and it’s a problem. It’s a major issue in the industry overall. But really, don’t start the project without having the money in the account so you know you can cover your budget. You might have to raise more money later, and that’s fine, but at least have the big chunk that covers the actual budget before you begin. That’s a major lesson I learned.
Number two, from a directing standpoint — I’ve been acting since I was a little boy. Not a professional actor, but I studied with some of the best teachers in New York. I went back to acting school after college, after film school, and studied at the Lee Strasberg Theatrical Institute. I auditioned and got in. I studied method acting. Some of the best actors studied under Lee and at that school. I did that really for myself, just to understand the ins and outs of acting. As much as I feel like I could get on stage and do it — I grew up doing a lot of theater — it just helps me communicate with the talent better. I think that’s really important for a director, to not just be technical, but to be able to communicate with actors. Each actor is very different, and they come with their own set of questions, challenges, theories, and unique qualities. You want to be able to navigate all of that so you can get the performances you’re looking for. So that’s two.
Another thing I highly recommend for a director is learning how to edit or at least understanding how editing works, because the most time you’re going to spend on a movie is in post-production. I’ve been a professional editor for 25 years. I’ve edited all of my projects. People say, “Don’t you want another editor to give you a fresh set of eyes?” It’s very hard for me, especially when I’ve written something — because I’m also a screenwriter — to hand that over to someone else. But the thing is, being a professional editor, I’m so used to getting notes. When I go through the process, I get notes all the time from other creatives and professionals. I like notes. They don’t hurt my ego. I want good feedback. I have people I trust, I bring them in, and I ask for notes because I want to make the project the best it can be. It doesn’t mean a director has to do the editing, but at least understand the process. Some of the greats were editors or started out as editors — Kubrick, Scorsese. It really helps you streamline and prepare yourself on set. When an AD tells you, “You don’t need that shot,” or “You don’t need that coverage,” if you understand editing, you can visualize it and know whether or not you’ll need those shots. That’s very important. Was that three?
Let’s see. Okay, another one. One of the best pieces of advice I ever got was from the director Danny Boyle, who directed Trainspotting and Shallow Grave. I went to the premiere of 127 Hours when I was in my twenties. Danny was at the afterparty, just talking to everybody. I thought, Trainspotting is one of my favorite movies — I have to talk to this guy. So I built up some liquid courage, went up to him, cornered him, and asked a million questions. I thought, when am I ever going to get an opportunity like this again? I chewed his ear off for a while. There was a huge line behind me, but I didn’t care. It was a once-in-a-lifetime opportunity, and I truly love his films.
The thing he said to me was, “Brendan, the most important thing about being a director is finding your style, building your style, building your unique voice.” That really stuck with me. I’ve been building that voice and style for years, through short films and other projects. I really feel like when you watch a Brendan Gabriel Murphy film, it feels like I directed it. No matter what the genre is, you can still see those elements that make it uniquely mine. That was one of the best pieces of advice I’ve ever received, and now it’s something I pass on to everyone else. It really helps structure you. You can borrow from other filmmakers — Tarantino does, Scorsese does, Spielberg too — but they all took different pieces and built their own styles out of it. There’s nothing wrong with that. But make sure you build your own unique style so you have your own voice and vision that sets you apart. That’s what helps you stand out.
Yitzi: So Brendan, this is our final aspirational question. You’ve been blessed with a lot of success. You must have learned a lot from your experiences. Can you share five things that you’ve learned now that you wish you knew when you first started in the industry? What would that be?
Brendan: Well, I think for me, a big one is that a lot of people are intimidated to go out and follow their dreams. I know it sounds cliché, but it’s true. There are so many societal pressures and challenges. And I think when people hear “no” or get passed over, they get discouraged.
We’re in a very unique time now with the creator economy, where people are going out and doing things on their own. If you want to be an artist and paint, then paint. If you want to take photos, take photos. Don’t focus on being famous. I think that’s what hinders a lot of people. I’ve never focused on fame. I just wanted to build a career, to be able to support my family. But you have to take those steps and put in the work. You have to learn from mistakes. You’re going to make a lot of them. You’re going to hear a lot of no’s. You might get screwed over once or twice, but that’s part of learning and educating yourself.
We’re constantly learning as artists. And I say “artists” because I don’t want to limit it to just filmmakers. Art in general is challenging, but artists have the power to make people feel something — whether it’s through film, writing, photography, painting, sculpting, whatever it is. It’s a powerful medium.
I want people who have that spark in them, that drive for free expression, to just try it. Go for it. Even if it doesn’t work out, that’s okay. At least you tried. And if you have it inside you, it’s always going to be there. So just do it. Keep doing it. You don’t have to be famous. Just create. The world needs artists. Politics gets in the way of everything, but we need art. It’s fulfilling, it reduces stress and anxiety, and I hope more people take that leap and explore something they’ve always thought about doing. Even if it’s an athletic pursuit — try it. Just try it. Because something special might come from it.
I think it’s a gift, and if you have that gift inside you, why not use it to better society, to help or inspire others? That’s what I’m trying to do — I’m trying to inspire people. It’s been a very difficult road to get where I am. It’s been extremely challenging. It hasn’t been easy. I built this from the ground up, pretty much on my own.
I’ve been fortunate to have a great partner in my brother Kieran, who co-owns Altered State Entertainment with me. He’s a cinematographer and shoots all my films. So I get to work with family, which is a blessing. But I just hope more people try to make their dreams come true, in whatever form that takes.
Yitzi: Awesome. Brendan, it’s been so amazing meeting you. How can our readers watch the film? How could they support you in any possible way?
Brendan: Yes, please go support independent cinema. It’s so important for the industry. There’s a major divide between the studio system and the independent side, and independent films are very challenging to get off the ground.
Fluxx will be coming out on May 30th for a limited theatrical release. Indie theaters across the country will be picking it up, and AMC theaters will also be playing the film. After that, it’ll be available digitally — you’ll be able to buy it on iTunes, Amazon, Google Play, and other online platforms. From there, the film will take on a life of its own.
Right now, the focus is to get people into the cinema. Go see a movie, go support independent films like Fluxx. People put their blood, sweat, and tears into projects like these. It’s been over five years of my life. I wrote it during COVID with my writing partner Keyaunte Mayfield, when we couldn’t go anywhere, so this film means a lot to us.
You can follow the film at @fluxxthriller on Instagram, and you can follow me at @brendangabrielmurphy. The website for the film is www.fluxx.film. Our North American distributor is called The Forge, and the theatrical trailer is out now. There’ll be a big marketing push starting the week of the 26th.
So yeah, support independent film. Go see Fluxx. It stars Shelley Hennig, Tyrese Gibson, and Shiloh Fernandez, who are all incredible in the film.
Yitzi: Amazing. Brendan, it’s so amazing meeting you. I wish you continued success and good health. I hope we can do this again next year.
Brendan: That would be fantastic. Thank you so much, Yitzi. I really appreciate the time. Now everyone please go to the movies and if I see you there…the popcorn is on me!
Director Brendan Gabriel Murphy Talks ‘Fluxx,’ Working with Tyrese, and Why Indie Filmmaking… was originally published in Authority Magazine on Medium, where people are continuing the conversation by highlighting and responding to this story.