THE INTERVIEW
November, 2026
MICHAEL CECCHINELLI
DIRECTORS OF RECLUSE
Michael, tell us a bit more about yourself. Where does your desire to be a director come from?
Thank you so much for having me, it’s truly an honor.
And my desire to be a director is fully based on my love for cinema, and an overwhelming crea=ve drive. Which a?er trying my hardest to work in a more tradi=onal field for sixteen years with construc=on. I have found that there’s no way of ignoring the passion for me personally. Being fully aware at this point, that I was built for this type of work.
And I am sure Meitar Paz could tell you as well, that I am a liHle so?-spoken for being a director. I have zero desire towards giving marching orders to others. Which I have become beHer at over the years, but it also has led to methods I have implemented that I do believe serve our films for the beHer.
I will absolutely tell my talent the basic blocking for any said scene we’re working on.
However, I will then step back and instruct them to do whatever they are feeling for their character at that moment. While s=ll s=cking to the script.
In a collabora=ve environment, I feel that this is the best way to approach geKng to the final print of a scene. And then from that point, I can always correct whatever isn’t looking right on screen.
What is your background?
Some people laugh it off. However, I choose to include it every =me, because it’s significant to me. And clearly lead to something. But I would say I got started making movies when I was seven.
Using the family camcorder, to direct my friends and cousins. In liHle home movies I would come up with. The Stalker, Baby-Nator, Cool Hand Dan, etc. That went on throughout college as well.
Making my first couple hundred bucks or so in the entertainment industry, when I was s=ll in high school. Through my friends and I selling around DVD-Rs of our movies that I had put together.
However, my first professional indie movie. A?er I had bought a RED 8k Cinema camera and organized my first produc=on for Rose. Which I was already developing with a couple of film school students in 2019. And then when the lockdowns hit in 2020. We got moving quickly. In a very responsible and conscious manner. Everyone not on camera in the behind-the-scenes s=lls from Rose are all masked up, etc.
What were your references for Recluse?
I did cover a lot of ground in the interview I did with ICE MOVIE AWARDS, so I’ll try to touch on some different references, inspira=ons, and homage paid throughout Recluse.
In the final act. Once Manasa Veena’s character, Becky finally breaks into the bedroom
safe. Instead of showing anything inside, I wanted to pay homage to one of my most favorite writer-director’s films, which is Quen=n Taran=no’s Pulp Ficion. And having a golden ray of light appear, as Becky slowly opens the safe door. I however was also picturing the liHle girl kneeling in front of the sta=c television set in Poltergeist as well.
And a shot to pay tribute to my favorite, and most inspira=onal filmmaker when I was a kid, from Stanley Kubrick’s The Shining. When Wendy Alcala’s character, Suzie is pounding on the back hallway door. Screaming hysterically, trying to get out.
There’s a shot where I am on the ground, against the door, looking up at Suzie sobbing.
Which is of course the same shot Stanley Kubrick did, looking up at Jack Nicholson in the meat locker.
And a funny story about the produc=on, that I just remembered while wri=ng this.
Wendy Alcala insisted on set, while I was lying up against the door with the RED camera.
That she s=ll ran into the scene, which she was absolutely running full speed into for every take. Saying she preferred to, because it “stops her.” And a?er cuKng each take, I’ve never heard my voice sounding more concerned, the way she would face-plant into that fire door repeatedly.
But yeah, I thought that was a funny joke Wendy played on me during filming. Despite
me saying, “There’s absolutely no reason to run into this shot, while I’m lying right here.
We’re using a side profile for that, so we see the actual impact. And you’re already much calmer at this point, by the =me we see this shot. With Suzie res=ng up against
the door…”
But nope. She just had to run directly at me for those takes.
Michael you won Best Horror at the RED Movie Awards, what does that mean to you?
Again, it is hard having done the ICE MOVIE AWARDS interview. And I apologize if this might sound a bit repe==ve. But there are honestly no words to explain how much the awards from your fes=vals mean to me.
It’s been a rough decade, having lost my mother, Ellen Solveig Bakke. Who I named my studio, and dedicated Recluse to. My aunt Linda Cecchinelli, who I worked with on a weekly basis, and was very close to. And compounded quite a bit more in the last couple of years, with losing the family business I had become the majority owner of and was dependent on for my only source of income.
And having not grown up in Hollywood. Not knowing anyone who worked in the entertainment industry. Only being surrounded by people, who genuinely think it’s a
ridiculous pursuit.
The awards from your fes=val are all I needed to mo=vate me through another project. I cannot express how truly from the boHom of my heart, grateful I am! It means more than you’ll ever know, for someone who almost has no one in his corner.
You describe *Recluse* as a full collaboration. How did working so closely with your cast and crew shape the final film?
I always allow room for other ideas and even encourage others on set to share their input. General rule of thumb is multiple heads are better than one. And it does bring me a lot of joy too, when seeing other people’s ideas make the final cut of the film.
Recluse had a lot of improvisation from the cast, that ended up being in the final movie.
And was also responsible for a lot of the comedy as well. Everything from Wendy Alcala snatching up the ceramic towel holder from the kitchen and holding it up in defense as a weapon.
Manasa Veena, softly telling the safe in the bedroom, “I know what makes you tick.”
And Meitar Paz with the original idea of being mesmerized by the PEZ dispenser, during the acid sequence. Which ultimately led to Jimmy Arnold’s head appearing as the PEZ.
That last addiction too, that was made by Meitar during the production of Recluse. Also makes for the perfect example of how allowing for other people’s creative suggestions, can lead to others building off from their idea as well. And I would also say that would be the best way of summing up the en=re production of Recluse. And why Meitar Paz, Manasa Veena, and Wendy Alcala are all Executive Producers on the film.
You specifically highlight the performances of Meitar Paz, Manasa Veena, and Wendy Alcala. What did each of them bring to their characters that surprised or impressed you?
I don’t know how to explain it, but Manasa Veena is just so naturally gifted all-around as an actress. She had by far the most dialogue to remember, and she absolutely carried it!
Another one of the most hardworking artists that I always try to work with. Manasa,
even when she already had the most lines, took on the demanding position as production coordinator on Recluse. And has been so incredibly proactive and helpful, as the production coordinator on this next project that we have recently started, Some Like the Melee.
And as far as Wendy Alcala goes, she was nothing but surprising and exceedingly
impressive. I’ll keep it short, based on the previous Wendy story. However, Wendy
Alcala was both selfless in how she would run into that door. And told Manasa to slap her face and pull her hair in a couple of scenes, despite it not even being in the script.
But she is also by far one of the most hilarious people I have ever met. And I would
always work with her again!
What do you hope audiences take away from *Recluse* after experiencing the film and its characters?
Personally, I am very proud of all of us on this production. Based on what we all
accomplished, in a small amount of time. Long working days, that sometimes wouldn’t
wrap until after 3:00 AM. And limited resources, including overall help working on this project.
However, I hope audiences will take away the blood sweat and tears, literally given by these amazing, talented artists!
And I guess for audiences to simply keep their eyes open for the little details throughout. There was a final “therapist scene,” that was in the script, and was
supposed to occur just before the credits. Where the neighbour character, Jefferies.
Played hilariously by Tony Scott, who’s also been on every one of my projects since
Rose. And is of course a spoof on another favorite of mine, Alfred Hitchcock’s Rear
Window.
And him explaining to his therapist, what he witnessed the night before with his
neighbor. And his neighbor’s so-called female company.
Despite us unfortunately being unable to get to that scene. I believe if you really pay attention towards the end. You can catch the overall ego element we were hoping to
highlight.
You made *Recluse* with a very small team and limited resources. What were some of the biggest challenges you faced during production?
I would say the biggest one, since we were working with one camera, was timing.
Anything that the final cut of Recluse suffered from. A couple of scenes feeling slow and flat. And some audio issues, could’ve all have been solved with a longer production and two cameras. Which we are fortunate enough to have on this next project, Some Like the Melee.
Do you have an anecdote to share with us in particular?
If there is one thing I have learned from doing this so far, it’s that there are no perfect roadmaps to geKng a project completed. There can be a lot of excuses though.
I believe it all comes from fear. Possibly some complacency. If you’re comfortable enough in your current situa=on. It’s going to be very difficult to motivate yourself
through such an incredibly difficult task as comple=ng a feature film.
I would say the best thing one could do when pursuing something like this. Don’t kid yourself as far as how difficult and how much =me it requires. Be prepared to be the only one to see it all the way through. No one’s going to help you make your movie.
Even for everyone else you bring on to help you. They have a wrap =me, and you don’t.
And you need to be prepared to be the only one le? at the end. Continuing to work for
months to get your project across the finish line.
What is your next project?
Some Like the Melee, is my third and next film.
I can’t give away too much now. The en=re team is under NDAs, since I have never
written anything like this before. The opening scene of the film, featuring the incredible Meitar Paz. Has never been done before in any other film.
And since the en=re movie is filled with misdirec=on and twists throughout. I am very excited to release much of the intro sequence, in our official trailer for the film. That people can watch at www.SolveigPictures.com around mid-November.
However, be forewarned. I will have you hooked and dying to see the rest of the movie, if you watch our trailer in November! Also starring Manasa Veena, of course. I also discovered an incredible talent locally in Seattle, while organizing this project.
Meitar Paz’s co-star, the very talented Jenny Rae Miller. I originally hired to simply be singing her original songs and playing her guitar in the background of our bar scenes.
Talking with Jenny however, I discovered she had prior acting experience as well. And I immediately saw the potential in her, especially a?er hearing her play too.
Some Like the Melee is certainly going to be a powerhouse of a film. The most talented people I could find, a?er the amount of =me that I’ve been doing this. Matched with a completely original, rollercoaster ride of a script to work with. Again, I would simply recommend watching our trailer when it drops. That will explain all! www.SolveigPictures.com