Reagan and Christian have been friends since they were ten, and while their other friends became interested in parties and wasting time, they were interested in films and playing Catan. That was pretty much all they spent their time doing. Strangely, as much as they had a deep passion for stories and film, they studied History and Economics in college. But after graduating, they took a trip out West—rented a car, and slept in it for a week as they drove around southern Utah in January. They almost died twice and enjoyed amazing adventures. During that trip, they decided to pursue filmmaking together, so they did what every filmmaker recommends if one wants to become one: make films.

They started making short films, watching movies even more relentlessly, and writing, writing, and writing (which they had both already spent their lives doing). As they made short films and improved with each one, Christian was walking down a sidewalk one night when he saw a mailman putting envelopes into a wall of little mailboxes. What noir story could be based around the concept of mail? A form of communication that mysteriously hides the transmitted contents within? What was in those little packages? These questions gave rise to an idea, which in turn begot a 33-page rough script that night. The next day, Christian showed Reagan. The story had something to it—something deeply intriguing. Little did they know, that was the beginning of a 2.5-year journey. They would spend the next 2.5 years writing that script. They didn’t stop until they felt it was truly great. 2.5 years later, they were done.

And that meant it was time to begin the process of making the film. In that time, they had made shorts, written scripts, and watched hundreds (probably a thousand) of films! They were building themselves, prepping for the chance to make their first feature. But films are deeply collaborative projects. They could not do this alone. . .