Lights, Camera, Culture: Jacob Patrick Talks About His Debut Feature Documentary 'Sono Lino'

Sono Lino has taken the festival circuit by storm, so I knew I had to score an exclusive sit-down with the mastermind behind the film—director Jacob Patrick. In walks a tall, distinguished gentleman in a cozy sweater, perfectly paired with brown pin striped pants, his signature slicked-back hair completing the look. An artist, indeed! He arrives early, so we briefly chat about our Portuguese and Italian roots. Well, he isn’t Italian, but we can certainly welcome him as one! His exemplary film Sono Lino does justice to Italian culture and honors legendary glassblower Lino Tagliapietra, so we might as well consider him Italian. Now let's get back to the good stuff—Jacob Patrick is an award-winning director, producer, and cinematographer who has been bringing stories to life since founding Amalgamation Pictures in 2011. He has produced a range of acclaimed projects, including feature films, documentaries, and short-form content, earning dozens of official selections at film festivals worldwide, including a Cannes Lions Silver Lion Award. Now, he has a new film making waves at the Newport Beach Film Festival. Sono Lino marks Jacob's directorial debut in feature documentaries, showcasing his passion for seeking out genuine conversations that ignite compelling stories.

Nicole Alicia Xavier: Jacob, welcome to Newport Beach! Thank you for being here. I’m really curious to learn more about you—the man behind Sono Lino. Can you share a bit about your background? What inspired you to get started in filmmaking?

Jacob Patrick: The short answer is that I started as an actor, which ultimately brought me to L.A. After dropping out of college, I moved to New York for a bit and attended an acting program there. Growing up in Rhode Island, I was on the East Coast, and it was the first time anyone suggested that I might want to go to L.A. and try my hand at commercial work. At 18 and a half, I took that advice, saved up some money, and right after turning 20, I moved to L.A. As that process unfolded, I found myself searching for the right creative fit. I grew frustrated with the "actor syndrome" of waiting for someone else to give me a job. I realized I just didn’t thrive in that environment. Believe it or not, I saw a life-changing interview with one of my heroes, Jon Favreau—someone I still hope to meet someday. In the interview, he talked about how he and Vince Vaughn decided to write “Swingers” because they knew that if they relied on auditions, success might not come, not due to a lack of talent, but because they didn’t fit a certain archetype. I loved that approach and thought, “I want to start doing that.” So, I began writing and decided—with no experience—that I would write, direct, produce, and star in my own short film. Ironically, that’s the only project I never finished. I dove into this strange, sci-fi-ish short film, and during that process, the director of photography asked if I had ever considered producing. I scoffed, thinking nobody cares about producers, but I discovered I had a knack for it. Because I don’t know how to do anything halfway, cut to ten years later—I took the time to become a good producer and really learn the business. I got into photography first, acting as a one-man band. Photography was the first domino to fall, and I always wanted to direct, but it felt far away at the time. My producing experience gave me some valuable tools. I made it a point to work in every department at some point in my career, wanting to learn the ins and outs of a big crew. I started directing short-form content, branded content, and short documentaries when the need arose. I thought, “I want to tell this story,” so I picked up a camera and decided to handle everything myself—shooting, directing, producing, editing, the whole nine yards. My journey primarily began through writing and producing, and interestingly enough, I focused on scripted content early in my career. Then I got caught up in documentary filmmaking, with my first feature being a doc. I went on to produce a couple more scripted features, but when this project emerged as a brainchild, I knew I was experiencing something entirely unique.

Nicole Alicia Xavier: That's quite fascinating because I, too, started in acting. After about ten years, I found myself searching for a higher purpose and wanting to make a more significant contribution to the industry. I believe that those who thrive in this business—perhaps you agree—need to be multifaceted. It's easy for us actors to limit ourselves. What advice would you offer to actors who are clinging tightly to that big role? I often suggest exploring other avenues. Personally, I write on the side and contribute to various areas of the entertainment industry. What would you say to those who are resistant to consider other options?

Jacob Patrick: It never hurts to try something that can give you a better understanding of what you're doing, right? It’s funny—this isn’t my original advice. I’m borrowing it from a panel I attended years ago at the Santa Barbara International Film Festival, where I had a film. Todd Black, a producer known for owning Escape Artist and working on Fences with Denzel Washington, shared an insight that really resonated with me. He suggested that everyone involved in filmmaking—both in front of and behind the camera—should produce something at some point. He said stepping into those shoes can help you gain a better understanding of the challenges everyone else faces. I never want to take hope away from someone who is committed to their career, but working on the other side of the camera can provide a calming pragmatism. For me, it shifted my perspective from worrying about whether I would "make it" to focusing on whether I’m heading in the right direction as an actor. It helps you assess if certain roles truly align with your path. We all enter the entertainment industry with grand delusions, thinking we might wake up one day as the next Ryan Reynolds. While it’s not impossible, that mindset isn’t realistic. There are foundational steps you can take to build a lasting and fulfilling career, which might take 20 years rather than just two weeks. The lottery-like element often sensationalized in entertainment—auditioning for something and having your life changed overnight—can be misleading. The best gift I ever received as a creative was learning to embrace the long game. By letting go of the idea that a big break is just around the corner, I’ve come to enjoy the process much more.

Nicole Alicia Xavier: I think most people really need to embrace that process. As for those who say it’s all just luck—do you believe in luck, or do you think we create our own luck? Where do you draw the line, Jacob Patrick?

Jacob Patrick: I think a lot of the time, luck looks a lot like hard work. I’m not sure where I personally fall—I probably skate that line right in between and might lean one way or the other on any given day. However, I do believe that what can seem lucky from the outside often results from years and years of hard work. Hard work means preparation, you know? There’s a quote that says luck is when timing meets preparation. So, when an opportunity comes your way, you’re prepared and ready to take it on. In that sense, you can embrace luck in a different way.

Nicole Alicia Xavier: Oh, absolutely! I agree with you. Now, regarding documentaries, are you more drawn to seeking out those stories, or are you also open to doing dramas? Where do you see yourself on that spectrum?

Jacob Patrick: I absolutely love documentaries. There’s a unique, almost selfish element to documentary storytelling that I find unmatched in any other genre. In follow-docs, like this one, I experience those moments with the subject in real-time. You don’t see me, but I get to be there, and there’s an intimacy to that. However, my background is primarily in scripted content. My next feature that I want to direct is a scripted film, which I’ve been working on for nearly ten years. Along the way, I stumbled into a documentary project and ended up spending almost five years on it. The entire process with Lino took nearly five years from start to finish, but I see both scripted and documentary filmmaking as offering their own kind of magic. I couldn't prioritize one over the other, especially since my experience making this documentary has been genuinely life-changing—not just because I created a film I’m proud of, but because of the time I’ve spent with him. I’ve had the privilege of spending years with this wonderful person, and my favorite moments aren’t the ones where the camera is rolling. They’re the times when we’re just sitting together, whether he’s complaining about a meal or preparing some fish. Those honest, wholesome moments mean the most to me.

Nicole Alicia Xavier: I think you did a fabulous job with this film. You mention that he was a bit of a complainer, but you really captured his positive and human side beautifully.

Jacob Patrick: He really is. It’s funny because, for him, it’s all about food. If there’s a second love in his life, it’s food—after glass, of course. Quality is everything to him. He won’t outwardly complain about something, but I can often read his face. I might ask, “What do you think of the fish here?” and he’ll give this little frown and shake his head back and forth. Then, once we leave, he’ll say, “Oh, that was terrible.” But if he loves something, you’ll know it—he makes it very clear.

Nicole Alicia Xavier: So, Jacob, how did you first discover Lino? Side note, I don’t know how familiar you are with Newport Beach, but there’s an annual festival here dedicated to glassblowing.

Jacob Patrick: Really? There is? 

Nicole Alicia Xavier: It's called the Sawdust Festival.

Jacob Patrick: Yes, actually, someone has mentioned this to me before.

Nicole Alicia Xavier: Hopefully, the Sawdust community will come out to support. Anyway, how did you first come across Lino’s story? Did someone email it to you, or did you seek it out yourself?

Jacob Patrick: It’s been fun to share the story a lot lately, exploring the genesis of it all. It actually began as something completely different. Back in 2018, I was developing an anthology documentary series focused on elite master craftsmanship, and I thought, "Oh, glass could be cool!" This was just one of many ideas I was brainstorming for potential episodes. I knew nothing about glassblowing at the time—zero. The only connection I had was working in a building in Westwood that featured a Chihuly chandelier in the lobby. I thought, "Well, I know who that guy is!" So I started my research, and soon discovered that everyone in the industry talked about a guy named Lino and his impact on American studio glassblowing. I found out he had a gallery in Seattle and another in Murano, so I cold-called the Seattle gallery. I connected with Jacopo, Lino's grandson, who runs the company. Over the phone, I pitched my idea for a show, asking if Lino would be interested in participating. They responded positively and stayed in touch as I took the show out to pitch. Ultimately, we didn’t secure a deal, but that was no big deal. As the years passed, I kept in contact with the family and genuinely enjoyed our conversations. I liked that it was a family-run business. At the beginning of 2020, Lino was scheduled to come to Seattle for a week of hot shop sessions, and Jacopo asked if I could capture those moments. There wasn’t a specific project in mind at that point; they thought maybe this could lead to something. Lino was 85 at the time, and they wondered if he might retire afterward. So, I went up, and that’s when everything changed. Meeting him was pivotal for me. I felt an undeniable urge to tell his story. While there had been other works made about him—mostly focusing on his art—I wanted to share his personal journey. Then, the pandemic hit, which unfortunately pushed him into retirement. I continued to stay in touch with the family. In 2021, when things began to open up a bit, I reached out to Jacopo and suggested that we do something independently. I didn’t know what it would become, but I still believed in the original show idea. Once that snowball started rolling down the hill, it just kept growing. If I had to estimate, I spent about nine months filming on the road with him over a three-year period. It was a long journey, but incredibly rewarding.

Nicole Alicia Xavier: When you approached his grandson with this idea, I assume that Lino also has a say in the decision-making process. Did Lino meet with you and express his full support, or were there some creative challenges? We often see documentaries where the director and the subject or muse have conflicts. Was that not the case with Lino?

Jacob Patrick: Not for a minute. No, he’s such a team player. It’s not lost on me how much trust the family placed in me—so much trust. The first time Lino watched a frame of the film, he watched the entire movie. That level of trust is something I think is very, very rare.

Nicole Alicia Xavier: Given that Lino values five-star quality in everything he does, how does it feel to have earned his trust? He clearly saw that same level of quality in you. Knowing that he believes you can portray him in the best light, what does that mean to you?

Jacob Patrick: I've had very few moments to really reflect on that, and I’m not sure if it’ll ever fully hit me just how flattering it is. Lino and I have shared some kind and complimentary words behind closed doors. From the beginning, especially with Jacopo, I was completely honest. I approached him and admitted that I was outside the glass community and knew nothing about glassblowing. I told them that I didn’t want to tell a story focused on Lino’s work; I wanted to tell a story about him. This isn’t going to be a puff piece showcasing the great artwork he’s created over the years. I know the family had seen some of my previous work, which they loved. There was an element of quality in that content that met their standards to some degree. However, I was completely honest when I first met with them. I made it clear from the start that I had not directed a feature film yet; this would be my first directorial feature. I think the intimacy I maintained throughout the process and the amount of "skin in the game" I invested in the project over such a long time contributed to that. From the beginning, the family really embraced me.

Nicole Alicia Xavier: Did you ever feel burned out during those years? That's quite a long haul! Was there ever a turning point when you questioned whether it would work out or if it might take even longer than expected? Did you ever wonder how much energy you could continue to invest in it?

Jacob Patrick: It's funny because I never had even the slightest inkling that this might not work out or that it wouldn't be finished. The big event in the film takes place in March 2023, but until January of that year, we didn't have an ending. It was mainly me and my editing partner, Lano Medina. It's unfair to just call him my editing partner; he’s also my business partner and my best friend of 20 years. The way the story was shaping up surprised us because Lino was such a wholesome character. We began to think, what if the ending doesn’t have to revolve around glassblowing? What if it’s just about the team getting back together for a dinner or some sort of event? We realized we only needed some semblance of closure regarding the personal journey. So, I called Jacopo and shared our idea about bringing the team together. He mentioned that after a year of preparation, there was an event happening in March where Lino might blow glass. This was a total surprise to us; we had no idea it was coming. The conclusion of the film didn’t come together until a couple of months before the event, and it turned out to be a wonderful gift. It was an incredible moment to be a part of and to capture, but it definitely surprised us. For a long time, I was just rolling with it and observing how things unfolded.

Nicole Alicia Xavier: So, was there never a set script?

Jacob Patrick: No, no, no. For the first year of filming, it was really just capturing moments for the sake of capturing them, along with conversations with Lino about life. I was fascinated by a man who was 87 when we started, struggling deeply with the idea of stopping. It's so anti-American to do that, you know? Yet he has this childlike passion that is unparalleled. I've never met anyone else who cares so much about continuing his work all the way to 90.

Nicole Alicia Xavier: As you mentioned, Lino has this childlike quality. We see it in children—they have so much creativity—and he never lost that. As we get older, we often lose our sense of playfulness and creativity.

Jacob Patrick: But even today, I can guarantee he’s thinking of something new—a formula, a texture, a chemical compound, or something innovative with glass.

Nicole Alicia Xavier: Wow! After the film was completed, what was Lino's initial reaction? What did he think of it?

Jacob Patrick: He loves the movie, but I think it also makes him feel sad. It’s not that he thinks the film isn’t great; rather, it’s almost too self-reflective for him. He’s still processing the heartbreak of not blowing glass anymore. The first time we showed him the film was a very romantic gesture. I promised him I would be there when he watched it for the first time. Since he was in Murano, which is far from LA, I organized a big surprise. The whole team traveled to Murano, and we rented a small theater in Venice for a private screening with him, his team, and family. It was a beautiful, intimate experience where everyone had the chance to cry and share their feelings about the film. I think he was surprised by how emotional it was. Watching him experience the movie fills my heart with joy.

Nicole Alicia Xavier: You did a brilliant job, especially considering this is your documentary debut. By the way, did he ever ask you to blow glass with him? Did you have any interest in that?

Jacob Patrick: No, the opportunity to blow glass actually came up quite seldom. The only person on the team I worked with a bit was Nancy, as I had several hot shop sessions with her and the rest of the team. I spent a lot of time in the hot shop with all of them. She let me gather and turn the glass, but nothing too crazy. The process is so expensive and happens within a tight timeframe that if I’m there to film, I’m focused on capturing everything that's going on. There’s no other glassblowing happening during that time—it all occurs in a finite period. It’s fast, intense, and incredibly hot. I never approached it as, “Oh, let me play around and blow some glass.” My role was always to capture the experience.

Nicole Alicia Xavier: As for capturing that intensity, I noticed it wasn't really discussed, but injuries can occur in this process. Did Lino mention any of those injuries? What are some aspects that the film didn’t really touch on? I’ve heard some horror stories.

Jacob Patrick: It's funny—this question has come up a few times: is there anything we cut that we might want to include later? We actually have a whole injury sequence that was truncated. It’s still in there; Dave discusses how tough it can be on the body, among other things. We touch on major injuries for everyone involved. That said, these are the elite of the elite—people who are the best in the world at what they do. When they work together, it’s remarkable. For example, during their last hot shop session, that team hadn’t worked together in over 10 years. They went in cold, and it was like a symphony—seamless and choreographed. They instinctively knew where to be and what to do, relying on a vast amount of unspoken language. When you’re that skilled, it can be plug-and-play to a degree. Of course, for younger glassblowers or those earlier in their careers, there’s much more chaos and a greater chance of injury. But yes, these seasoned artists have certainly experienced some serious injuries. All of them have.

Nicole Alicia Xavier: Wow, this really highlights your directing style. It’s impressive that you were able to step back and say, “No, we don’t need to focus heavily on that.” In terms of post-production, did you and your editor experience any creative differences during the editing process? Is there anything specific you can share about that?

Jacob Patrick: Lano Medina and I have a pretty rare and magnificent commonality in our storytelling language. We share similar tastes when it comes to pace, editing style, and flow. As former professional dancers, music plays a significant role in how we like to tell a story, especially in documentaries. I don’t think we ever had any major differences, but it was definitely challenging to let go of some darlings. With 90 hours of footage, condensing it down to a 75-minute film was really tough.

Nicole Alicia Xavier: 90 hours! What will you do with the extra material? Are you considering releasing a director's cut?

Jacob Patrick: I don’t know. The thing is, there are definitely chapters I would have loved to explore a bit longer, as well as aspects I wish I could have delved into more deeply. Lino’s career spans 77 years, which makes it a historical journey. To create something that follows his life chronologically—year by year, decade by decade—would essentially be a whole television series focused just on him. All that content exists, but it’s not the story we were telling. We aimed to capture what it's like for a professional athlete who has dedicated their entire life to this craft to finally retire.

Nicole Alicia Xavier: Interesting! How does your background shape the film's narrative and style? Where do you draw your influences from?

Jacob Patrick: I'm a real stickler for honesty, especially in documentary filmmaking. I refuse to manipulate the narrative to get the story I want. It’s honestly frustrating for an editor to avoid leading questions or trying to angle for a specific response. I prefer to present what people said, exactly as they said it. There's a particular honesty I strive to maintain. With this being my biggest project to date, I describe it this way because it truly reflects my perspective. Yes, this movie is about mastery, craftsmanship, and art—elements I deeply admire. I've been obsessed with craftsmanship my entire life and find the pursuit of mastery absolutely awe-inspiring. Ultimately, this film is my love letter to Lino. I don’t have that love letter without the life I’ve lived and the lessons I've learned along the way. Additionally, I created this film during the most challenging personal time of my life. Lino gave me a gift—his time—and he may not have realized the significance of that gift. A lot of myself poured into this project because I had a space to express my admiration and honor his journey.

Nicole Alicia Xavier: Oh, absolutely. I'm sure you've heard this before, but there was such a loving direction to the film. I could really feel your presence behind the camera, and it came through beautifully. While you were filming in Italy, how did you ensure that your experiences there became a part of the story? What insights did you gain about our culture during that time?

Jacob Patrick: That, honestly, wasn't too difficult because, you know, Lino truly bleeds Italy. (laughs)

Nicole Alicia Xavier: Yes! (laughs)

Jacob Patrick: You know, when I'm capturing Lino, I'm also capturing the essence of Murano. It's not just about Italy; that man absolutely loves the island. Being there with him so often felt like walking around with the mayor. Literally every other person would greet him with "Ciao, maestro!" and he thrives on it—he truly loves it. Visually, it's hard to mess up Italy; it's stunning. And because of Lino's essence, it wasn't difficult to capture the heart of Italy. That's what he embodies and cares about.

Nicole Alicia Xavier: So, how did you feel when it all concluded? Was it hard coming back home? I imagine you didn’t want to leave.

Jacob Patrick: It was, there are still parts of me that just want to go out and visit. I always bring a camera and film every time I see him. I was just there a few weeks ago, and there’s always that part of me that thinks, “Man, I’m bummed that we’re done with this project.” But I have these beautiful relationships with the whole family now, so it’s very different. I could just go hang out if I wanted to, you know?

Nicole Alicia Xavier: Lino didn't want to attend the Newport Beach Film Festival?

Jacob Patrick: No. The unfortunate thing is that he can't travel anymore. His body just makes it too difficult. He’s 90, after all. That’s why we’re really hoping to organize a big international premiere in the new year. If he can take a train, it would be much easier for him than flying and dealing with all that hassle.

Nicole Alicia Xavier: Has this been featured in Italian cinema?

Jacob Patrick: No, we haven't done anything internationally.

Nicole Alicia Xavier: Oh, you will! What are your distribution goals? You mentioned them briefly, but I’d love to hear more. Where do you envision this film going, and what direction do you want to take?

Jacob Patrick: In a dream world, I think it would make a lot of sense for this film to end up on a streaming platform in the U.S. or North America, as there’s a sizable audience for glassblowing here. However, I also believe there are brilliant strategies that could be employed for theatrical releases across Europe and in Japan, where he has a significant following. I’m not suggesting we should aim for 10 weeks in a theater, but I do think it has the potential for that kind of exposure. One of the most flattering comparisons we’ve received is that it feels like “Jiro Dreams of Sushi”. I don’t know if you’ve seen that film, but I absolutely adore it—it’s a huge inspiration for me. David Gelb is a genius; he went on to create “Chef’s Table.” Regardless, I would love to find a distribution partner who can help promote this artist profile piece. It truly has the potential to reach a wide audience. It’s a film that you can enjoy with your whole family or even on your own; it appeals to everyone. There’s no ratings controversy here; it’s a movie about reflection. I hope any distributor recognizes that, after watching the film, very few people feel differently about glass blowing itself. Instead, they leave feeling differently about themselves—and that’s the point.

Nicole Alicia Xavier: It’s about discovering a passion, and I plan to mention in my review that I feel like Lino hasn’t worked a day in his life because he truly loves what he does. So, at this stage in your life, with filmmaking and being in the industry, do you see this as your passion? Do you feel like you’re working, or is it more fulfilling than that?

Jacob Patrick: Okay. If I'm being honest, yes, sometimes I definitely do. For this project, though, it rarely felt like work. I mean, when you’re in a hot shop for five or six hours next to a thousand-degree furnace, those are the moments when you think, “Wow, this is hard work.” But overall, no, it didn’t feel like work. That said, this business can be very challenging at times. As a producer and director by trade, there are definitely moments when it feels like work. But when you get to work on dream projects like this, there are a lot of pinch-me moments. I find myself thinking, “I can’t believe I’m here. This is crazy!”

Nicole Alicia Xavier: Now, Lino really values family. How about your family? What do they think of the film?

Jacob Patrick: They love it! I'm about to go back to New York for another screening, and my parents are coming up for that. My mom and my stepdad really love the movie.

Nicole Alicia Xavier: What did your mom say? I have a soft spot for moms, so I’m really curious about her thoughts on your direction.

Jacob Patrick: Almost everyone says the same thing: "When can I meet Lino?" That’s usually the reaction. People are so eager to meet him. I think he touches the hearts of everyone who watches the film. I've heard that more than any other comment from viewers. It's always, "When can I meet Lino? I want to meet him so badly!" He truly is that wonderful and lovable. In fact, he’s even more lovable in real life than he is in the film, and that’s saying something.

Nicole Alicia Xavier: I love that! Do you own any of his artwork?

Jacob Patrick: Okay, any of the big pieces? No, definitely not. However, he has gifted me a few small items from around the shop and his house—little things that I really cherish.

Nicole Alicia Xavier: I love that! What does it mean to you when you look at those pieces?

Jacob Patrick: I mean, it’s overwhelming. It is not only because I know the personal sentiment behind giving it to me, but also because I know that I have art from the greatest artist to ever touch this material. Yeah, it’s flattering. That’s an understatement.

Nicole Alicia Xavier: So, where do you have it displayed?

Jacob Patrick: It’s in a cabinet and stamped with museum wax, so it’s not going anywhere. I live in an earthquake-prone area, so it’s as secured as it can be. Yeah, it’s definitely a "look, don’t touch" situation in my house.

Nicole Alicia Xavier: I’m glad you took those precautions. This next question raises an interesting point about artistic reflection in an industry often driven by commercial success. How do you balance maintaining artistic integrity with the pressures of creating a film that appeals to broader audiences? 

Jacob Patrick: There are complexities with filmmaking, right? It’s about balancing your commitment to the vision versus the market. I think this differs in documentaries compared to scripted films. In the making process of a documentary, authenticity will always trump everything else. The mass appeal of a project like this depends on what really happened, especially in the current landscape of documentary storytelling, which is often driven by controversy, war, and true crime. I believe something like this film offers a breath of fresh air. It provides a moment for families to sit together and watch a story about someone who lived an absolutely spectacular life—someone worth telling a story about in this way. A good producer, and especially a producer-director, knows how to ride that line. When developing or creating something, you have to recognize when it's time to stand firm and say, "That will compromise the integrity of the story," and firmly reject it. There are also moments when you can see how certain elements could make the film more appealing, and it’s important to dive back into the material then. It’s always about finding that balance. Ultimately, you have to trust your taste—it’s something that can’t be trained; it comes inherently.

Nicole Alicia Xavier: Beautifully said, Jacob! Now, how much do you love cinema? Are you constantly watching films or documentaries? How invested are you in it?

Jacob Patrick: (laughs) I mean, very. Yeah, I absolutely love it. To say I love it feels like a wild understatement because I truly enjoy what I do. I think it’s incredible that I get to do this. I’m obsessed with cinema and the language of filmmaking. What does it mean to tell a story this way? There’s this perfect melting pot of music, visuals, dialogue, and human experience. Also, working behind the camera—what is it like to collaborate with a crew and a team? Filmmaking is like the ultimate team sport. I love every bit of it. If I get to keep making films, that’ll make me very happy.

Nicole Alicia Xavier: Absolutely. I can feel that. So, what have you been learning about yourself throughout this process? Beyond the film itself, what insights have you gained? There’s always room for growth—where are you looking to improve in your life?

Jacob Patrick: Everywhere. Yes. With this project specifically, it was a life-changing experience, without question. Being around Lino, the number of lessons I’ve learned and the insights I’ve gained from him just by being in his presence—these are things I’ll carry with me for the rest of my life. He has a very specific, childlike joy about his experience in the world that I truly envy. Maybe it’s something that only comes with that kind of life experience, you know, after so many years of dedication. Or perhaps it’s just a unique mindset he possesses. Regardless, I hope to carry a little bit more of that joy and appreciation for the small things, like he does. There’s a line in the movie that says he’s a seeker, and I think about that every day. I want to continue being a seeker, willing to change my mind, learn, and grow.

Nicole Alicia Xavier: I really resonate with that. Absolutely. Now, let’s revisit the feature you’re currently working on. What genre does it fall under? Can you share any details without revealing too much?

Jacob Patrick: It's an indie drama, but it's also a baseball movie. It’s written by my friend, business partner, and collaborator, Lano. The script is semi-autobiographical, loosely based on his own life. This film explores a part of New York with a very specific cultural identity that hasn’t been portrayed in entertainment before. Lano is half Puerto Rican and half Filipino, and his story is both unique and intentional. I believe that if we get the chance to make it, people will really see that.

Nicole Alicia Xavier: How far along are you in pre-production?

Jacob Patrick: No, no pre-production yet. No official green light. We're just in talks for financing, and we have some pretty significant talent on board, which is amazing. Um, it's just like chipping away. The hope is that next summer we get to go make it.

Nicole Alicia Xavier: So, what's greenlit? What’s been finalized? After Newport, I know you’re heading to San Diego and New York, but once all of this settles down, where does Jacob Patrick go next? Will he just return to Westwood and get back to work on the computer? What’s in store for him?

Jacob Patrick: So, my life is consumed by two companies. I have Amalgamation Pictures, which focuses on long-form content, specifically feature films. I’ve been working on a whole slate of features for years, and getting those off the ground is very hard work. Then there's my other company, 1983 Creative, which my partner Robin Burke started. This one is more centered on short-form content—branded content, commercials, music videos, and the like. That’s essentially my other full-time job, so my schedule doesn’t rest. Mainly, I need to find ways to fund the documentaries I’m passionate about, so I have to make money through other projects. Right now, there are many projects on the table keeping me quite busy. The next feature is a huge focus, and I’m also working on a major campaign for a clothing brand set for next April, which will be a massive project.

Nicole Alicia Xavier: You really have a lot going on.

Jacob Patrick: (laughs) Yeah, I stay incredibly busy.

Nicole Alicia Xavier: So, do you find that staying busy helps you maintain your sanity, or is that simply your preferred way of working?

Jacob Patrick: I’m working on being better about that, but I genuinely enjoy staying busy. There’s definitely a fine line to walk, and I don’t always manage that balance well. Still, I really like to work. In the entertainment industry, we all experience ups and downs. Sometimes it feels like there’s just nothing happening, and creativity can feel like it’s at a complete standstill.

Nicole Alicia Xavier: How do you find peace in that solitude?

Jacob Patrick: Gosh, do I? (laughs)

Nicole Alicia Xavier: I know. (laughs)

Jacob Patrick: Um, that’s a great question. I’ll let you know if I find out. Okay. No, I mean, I think the aspect of peace comes down to the people around me. You know, a lot of times it just takes your friends and family to kind of pull you into real life and be cool with that.

Nicole Alicia Xavier: So, are you comfortable with the stillness?

Jacob Patrick: Yes, sometimes and sometimes absolutely not. You know, chasing your tail in this industry can be really tough because you’re conditioned to face rejection at an absurd level. Most of the time, you don’t even get an explanation—90% of the time, it’s just a cold email saying, “Thanks for submitting and donating your $85 to us.” The film festival circuit can feel particularly harsh that way.

Nicole Alicia Xavier: How do you prioritize your mental health and identity without getting too wrapped up in it all? This is something we often see with emerging filmmakers and people in general.

Jacob Patrick: A lot of therapy and reminders to engage in other hobbies that have nothing to do with work. When you’re busy, it can become all-consuming. I’ve learned to embrace the fact that this job’s nature doesn’t change; you just end up making more money over time. The process is the same, whether you’re at the top or just starting out. Mentally, you navigate the ups and downs of acceptances and rejections. Eventually, you can earn a better living, so when downtime hits, you’re not also struggling financially. That can really complicate things. I’m constantly reminding myself to accept that this is the job I signed up for, and there’s magic within that. It’s worth the rollercoaster it can be. 

Nicole Alicia Xavier: It sounds like you’ve found a healthy balance. It’s so true that the nature of the job remains constant, no matter where you are in your career. From a director's perspective, how do you feel about interacting with actors to draw out their performances? How much do you long for that connection? Given your background as an actor, you can certainly relate to us.

Jacob Patrick: Sure, absolutely. That aspect is truly special. Especially with the movie we want to create, we've been developing this project for nearly ten years now. It's unlike any other project I've ever worked on. The anticipation of collaborating with all these brilliant people is incredibly high. I can’t wait! It’s all about the excitement. Working with actors is incredible. It's the best part. 

Nicole Alicia Xavier: How do you plan to evolve your directing style, keeping in mind that your success depends on your actors and the relationship you foster with them?

Jacob Patrick: That’s an interesting question. I find it intriguing because so much depends on how safe a person feels and how willing they are to make mistakes. I think that’s probably the most important factor. While this may sound a bit abstract, the experience of working together is just as important to me as the final outcome of the film. If an actor prefers to work in a specific way, I have no problem accommodating that. It’s really about communication—making sure they understand the story we’re trying to tell, why it matters, and why we need to approach certain things on any given day. Let’s navigate this journey together. I often reflect on a quote from another hero of mine, Ryan Coogler. I think he’s younger than I am, which is funny, but he’s still a hero to me. He once said about working with Michael B. Jordan on “Fruitvale Station”: "Every actor just wants to know that someone has their back." I want actors to know that I’m here for them. I’m absolutely present. You’re going to be great; it’s going to be great. I’m here to be in the trenches with you. Let’s get through this together, but know that you’re safe. I believe in you wholeheartedly.

Nicole Alicia Xavier: Wow, Jacob Patrick! I really appreciate you sharing your passion and inspiration. I’m so glad you brought Sono Lino to Newport Beach. It’s refreshing to see that you have a clear vision and a strong sense of confidence. Just like Lino, it’s almost like looking in a mirror. We see you in Lino and Lino in you, and it’s a beautiful thing to witness.

Jacob Patrick: Wow, thank you. That really chokes me up. Thank you for saying that. It means a lot.

Nicole Alicia Xavier: I hope you keep doing this, Jacob. I'm proud of you.

Jacob Patrick: Thank you so much for taking the time to talk with me.