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I was inspired to make this project because it brought Shakespeare careening into the modern world, clashing the old with the new, and my hope is that it will intrigue some other curious person to pick up a copy of Richard the Third or Macbeth. I used to have a hard time with him, to be honest, until I got in and amongst the words and began hearing the musicality and the deep innate human thoughts being wrestled with, sometimes two or three to a sentence.

I loved that there’s this struggling, ostracized, Publican behind the scenes of this story who gets so desperate to make “real” art that he’ll go to any lengths to do so, including turning to the summoning of the father of writing himself, Mr. Shakespeare. The two mirror each other in that way, always behind the scenes moving and manipulating, sometimes at the cost of others.

There’s also a strong fated-to-happen note about this story. It’s part of the five Angelenos' destiny to be pulled into the orbit of these events, which is very Shakespearean as well. And just like Shakespeare had perhaps cavalierly dealt with some of his characters, the Publican has done the same to this group of people.

The Shakespearean characters coming to life, screaming out of a void place, came alive for me when I asked the question: what would it be like to be artistically created to live life on repeat in the confines of your play, forever destined to play out a tragedy or perhaps worse… be a plot device?

Richard’s monologue in the beginning of the piece is a reflection of that torture. A written character gaining sentient awareness, and coming out of the void like a bat out of hell with all the rage and abandonment that has been stockpiling in his spirit for hundreds of years. Even characters like Desdemona, who is such a beautiful, compelling, and inviting member of Shakespeare’s plays, has severe emotional turmoil at being separated from Othello again and again at the end of her play.

So, with that history, I was interested in the idea of people and art being haphazardly thrown aside and coming back with a vengeance. And the breaking out of destiny, whether by a written character or a very modern human.

I was also intrigued in the idea of being careful what you play around with because you might get exactly what you wanted. You might not always like it when you get it.

I’m hoping this project stirs up people’s excitement for Shakespeare, that it invokes deep conversations and draws out new questions, perhaps with a different perspective.

This film Is a bit off the beaten track and unorthodox, but I like that it jars you out of conventionality to tell a story that is more ambiguous.

Honestly, I’m very grateful to be trusted with this film. Having a supportive producer team has been a huge blessing. I’m excited to apply what I’ve learned during this time and to expand in specificity with each area of filmmaking for future projects.

Ryan has been making movies since he was a young kid, arranging Legos into stop motion epics across the living room floor. He quickly fell in love with how films can uplift, motivate and challenge the human spirit as well as the vast creativity that goes into all departments of filmmaking.

Ryan trained with esteemed teachers Lisa Robertson, Larry Moss, and Jean-Louis Rodrigue as well as several others in Acting, Writing, and Film. He’s studied for a time in London at Guildhall and in New York with several workshop productions.

He's been in the film industry for over 14 years working in TV and movies across multiple departments. His credits range from Amazon, Hulu, Nickelodeon, and Netflix, among others.

He’s written and produced projects for both TV and Web formats respectively.

"What You Will" marks Ryan's first return to the directing chair since the pandemic.

I was inspired to make this project because it brought Shakespeare careening into the modern world, clashing the old with the new, and my hope is that it will intrigue some other curious person to pick up a copy of Richard the Third or Macbeth. I used to have a hard time with him, to be honest, until I got in and amongst the words and began hearing the musicality and the deep innate human thoughts being wrestled with, sometimes two or three to a sentence.

I loved that there’s this struggling, ostracized, Publican behind the scenes of this story who gets so desperate to make “real” art that he’ll go to any lengths to do so, including turning to the summoning of the father of writing himself, Mr. Shakespeare. The two mirror each other in that way, always behind the scenes moving and manipulating, sometimes at the cost of others.

There’s also a strong fated-to-happen note about this story. It’s part of the five Angelenos' destiny to be pulled into the orbit of these events, which is very Shakespearean as well. And just like Shakespeare had perhaps cavalierly dealt with some of his characters, the Publican has done the same to this group of people.

The Shakespearean characters coming to life, screaming out of a void place, came alive for me when I asked the question: what would it be like to be artistically created to live life on repeat in the confines of your play, forever destined to play out a tragedy or perhaps worse… be a plot device?

Richard’s monologue in the beginning of the piece is a reflection of that torture. A written character gaining sentient awareness, and coming out of the void like a bat out of hell with all the rage and abandonment that has been stockpiling in his spirit for hundreds of years. Even characters like Desdemona, who is such a beautiful, compelling, and inviting member of Shakespeare’s plays, has severe emotional turmoil at being separated from Othello again and again at the end of her play.

So, with that history, I was interested in the idea of people and art being haphazardly thrown aside and coming back with a vengeance. And the breaking out of destiny, whether by a written character or a very modern human.

I was also intrigued in the idea of being careful what you play around with because you might get exactly what you wanted. You might not always like it when you get it.

I’m hoping this project stirs up people’s excitement for Shakespeare, that it invokes deep conversations and draws out new questions, perhaps with a different perspective.

This film Is a bit off the beaten track and unorthodox, but I like that it jars you out of conventionality to tell a story that is more ambiguous.

Honestly, I’m very grateful to be trusted with this film. Having a supportive producer team has been a huge blessing. I’m excited to apply what I’ve learned during this time and to expand in specificity with each area of filmmaking for future projects.