Nominated Outstanding Directorial Achievement
Best Short Film — Motherland (2017)
Semi-Finalist — Saviors (2023)
Won Jim Burt Screenwriting Prize
For “Two Mountains”
Won Global Shorts Statuette, Award of Excellence
Motherland (2016)
2nd Place Screenplay Giveaway Prize
Screenwriting — Sam and Rea’s Fault (2011)
Nominated Winter Best Narrative Short Film
Motherland (2016)
Official Selection (2017)
blows across the boy’s face suddenly,
and for a sticky, pixelated moment,
it becomes his head
—replacing it perfectly.
A quirk of time and space.
A glitch in the matrix.
Punched wings of color,
light and shadow,
vibrant but still,
somehow alive at rest;
a giant butterfly catching its breath
atop his little torso and four, stop-motion limbs.
For the briefest fragment,
it seems the child might explode into flight himself;
climb,
soar,
cartwheel and plunge,
flap, rattle and twirl
in shrieking spirals again, again,
rejoicing, exhilarated.
Seeing, feeling, being,
moving through the world as every child should.
But winds shift,
decapitating kites (and butterflies) from children—spasming helplessly,
they shrink into less and less agitated smudges,
then vanish,
their secret joys liberated from all time and judgement.
Swallowed by skies and lost forever.
from the collection “The Taste of Broken Glass” by Jason Hreno
A shelf-like limb protrudes from an unexpected place.
Your forearm—wedged between couch frame and cushion.
An elbow buried at one end. Hand at the other.
Like an inner tube escaping a pinching rim and tire, the flesh bulbous and supple.
Textured and plush.
A pillow in its own right.
But your skin,
The grain of each cell, follicle and pore—
Bio-hieroglyphs that form an unknown language, words, run on sentences, chapters and tomes, an ancestral alphabet stretching hundreds of thousands of years back in time,
aligned exquisitely into a quiet, breathing arc of symmetry and grace.
The story of your life,
Scribbled in some ancient codex.
A brail.
Its meaning embedded, inscribed in micro relief,
unlocked only by the pulsing cadence and verse of blood flow, resting heart rate and touch, while your lungs fill and drain,
barely audible, imperceptible,
but for an ear rising and falling,
like a moored raft,
swaddled in a tidal pool of thick, dry hair
that catches the light from the reading lamp,
connecting us all.
My breath rustles your tiny arm-hairs. A near invisible army stiffening to attention.
Cool at first then warmer as I near.
Lips so close they tickle.
Rolling over to swat me away like a fly.
A passing bus on the street shakes the house but always gently.
Dinner’s almost ready anyway.
Unexpected pictures of the prettiest little seaside seafood cottage,
somewhere on the west coast of England,
that pop up and dribble down my Instagram feed,
make me cry.
As if all the half-remembered dreams we ever had,
had gone ahead, arrived and re-assembled themselves
there to live without me.
Without us.
To find love without me.
Without us.
Worse, to find happiness without me.
Without us.
I wouldn’t have thought of painting parts of the cottage those colors or chosen those mismatched chairs.
But you might have.
And I would’ve been ok with it.
Taken the assertion of preference as affirmation of your belief and investment in me and our future.
The future that never happened and chairs we never bought on Kijiji.
The pictures almost taste salty,
That kelp infused shore breeze,
dissolving-ly astringent and sticky,
fragrantly bitter and mouth-wateringly unknowable
beyond their crisp borders.
Forever imprisoned in the 1:1 aspect ratio of some vaguely magical,
perfectly curated, other time and place.
A memory that never was. A silly fantasy that mocks its own false re-telling.
A ghost-like shadow doomed to wander the earth in search of any wan light that might cast pity and define it, for that vain nano-second of doom scrolling.
invisible knots or rungs that somehow pull knee to elbow, higher, curled fists trading places, clinging to perverse hope
That there will not be a next one.
Or that it—this tight rope of nothing—will fail
Finally releasing from the circular instinct and improvisation, the repeated sentence, to scale anything ever again.
The falling would glory the moment when the tower was no more than the imaginary citadel I believed to be the final keep of all dreams.
Hiding in your eyes, flickers erupting across your face, hints and promises, dancing in irises like movie scenes spliced for someone’s benefit.
Windows into a mythical city now vanishing into thin air like a mirage or ladder into clouds.
The silence always beckons. Following its seductive rhythm it, like an impossible drug to give up, not pursue as though another shot, another try lay at the end, its other side,
only a few strained breathes away.
Up down side ways. It’s never clear until inertia succumbs to gravity and internal organs rearrange to places they’re not meant to.
The sky pooling with bloody light. Hand writing inverted letters.
A movie playing backwards,
a record losing speed deflating tone to static.
Pretend to lie—
about all the sunsets we shared in silence,
their golden arms, like quiet laughter and fire that reached up
and right down into the throat of my being
hulling out the fruit,
a nut still beating in its shell,
or maybe just restless larvae clamoring to hatch.
Vain islands floating in broken atolls of clear green tears,
Waves sobbing against brisk, toothy reefs
Coral like embers of some distant dream or volcano,
Hissing as they try to fight back.
Reduced to irises now that have been forced to learn how to mock,
Burning themselves into our nights,
winking sequins like cosmic dice thrown
lazily reflecting as they skitter randomly here and there
over and over in hypnotic flares,
insects from across our galaxy
sent to remind us and oversee our tired intransigence,
A romance half sung, half stumbled in a vulgar polka of collapsed wit,
now a semi crumpled, half deflated and oddly stiff old game ball at a yard sale,
that once held such great but unkept promise, a lost spell, finally gloried but only in its own false irony and riddle.
Was it the ball or player? Who left the agreement first? Who disappointed whom?
Spasms from a submerged sleep, shuffle dance, the jerky, missed half-steps and throaty gurgles, the zombie like REM,
always chasing something into the sinking shadows
that always fall somewhere just ahead of us,
Ahead of themselves, always like black, light-absorbing leaves or silver-black rain but always silent like memories we’ve long just forgotten.
It’s time to balance the wind but I haven’t found the rhythm yet.
So, there’s no point begging clouds for mercy. Impassive, they will just change. They always do.
Hey there and thanks for stopping by to learn a bit more about me.
I'm a fluently tri-lingual—English, French and Spanish—award-winning Creative Services Leader with two decades of content expertise under my belt.
Starting in advertising / broadcast commercials in the UK, I worked directly for two ex-Saatchi Creative Directors at their small but mighty boutique production company in Soho (Stark Films). I learned everything about making ground-breaking commercials from two of the best directors in the biz.
In one capacity or another (PM, Line Prod or AD) for 4 amazing years, I was in every room and meeting / brief, and learned first-hand how to present to, and manage, creatives, briefs + boards, navigate agency and client politics, set etiquette, tech gear and crew, from prep to production, post to delivery. Despite having two degrees, this was the kind of education money can't buy.
It was exhilarating. As creative mentors they were both exceptional. As people, they were quite different but equally lovely. I was told more than once that I was the only one Jeff would allow in the room when he was working. He knew how much I respected and admired him, I guess. I never bothered him and he never had to ask for anything twice.
Both Art Directors by trade, decorated but humble, I think they just liked having a literature grad around (who was also visual) to bounce ideas off for story clarity. They knew I was a film and book guy and often asked what my goals were. One day I showed them a short script I'd written. They thought it was bold and pledged to help anyway they could.
Between them and another mentor I had in commercials—John Hackney (Rose Hackney Barber)—these two marquee prod co's helped me make my first 'real' 35mm short film 'Wandering Eyes' which got me my first directing gig on Ridley and Tony Scott's The Hunger for Showtime.
I also started directing commercials. These lead to more opportunities mostly back in the UK and for the US Market, where I was lucky to direct a few interesting noir-ish TV movies with well-known actors like Angie Everhart, Nicolette Sheridan and Peta Wilson to name a few. I continued writing my own original features few adaptations, scripts for hire and my own TV pilots for original series. Each has had many lives and been optioned many times.
By hook or by crook, I'm determined to direct my own indie feature, an art house thriller, and in the meantime, Life bumbles along and Journeys drift but never completely off course.
Still actively screenwriting and directing, (I just directed a zany proof of concept with 10 actors- yes 10, what was I thinking, lol-for one of my digital series called The Graveyard, it's in post, and will be out soon. It's totally crazy and ton of fun. You'll love it.), as a creative Swiss Army knife, I consult for a few major retailer where authentic values meet commerce, where communications and integrated omni channel campaigns are data driven but human at their core, and measured in tangible and meaningful ways.
An enriching adjunct thus far, I'm excited to apply more of my cinematic storytelling and myth-making background to UX / CX ecosystems at bigger and bolder brands to come.
GET IN TOUCH
jason@jasonhreno.com