Give Me the Backstory: Get to Know Rashad Frett, the Director and Co-Writer of “Ricky”

Films are lasting artistic legacies. What do you want yours to say?

The lasting artistic legacy I hope to leave is one that demonstrates the power of cinema to change the world, transform lives, and shift circumstances. If no one else believes in your art, believing in it yourself is a great place to start. The next step is to never quit — ever. My films are always inspired by social issues, aiming to spark change and address negative circumstances. I want my legacy to say that I fought for a voice when no one was listening until they had no choice but to listen.

Describe who you want Ricky to reach.

I want this film to reach as many people as possible because it tells a real common human story. I’ve met many people from all walks of life — whether they knew someone incarcerated or were incarcerated themselves — and what they all share in common is the profound impact of the criminal justice system. For many, the experience is marked by a sense of isolation, frustration, and the feeling that the system is deeply flawed, often treating ex-offenders as more than just their mistakes. This film reflects that shared experience and the emotional toll it takes on families, communities, and those directly involved.

Tell us an anecdote about casting or working with your actors.

While working on my film, I chose to blend top-tier professional actors with non-actors to bring a sense of authenticity to the world we were creating. One of the most memorable challenges came when I had just one week to teach my nephew what a script was, then coach him on how to read and memorize his lines — all while prepping him for a scene with two seasoned actors. The pressure was intense due to the tight time restraints, but in the end, it all came together.

Another standout moment was casting actual ex-offenders for key roles, and I repeated the same process with them. The authenticity they brought to their performances was incredible. Despite the stress of the tight deadlines and limited resources, the experience reinforced the importance of perseverance, adaptability, and trust in the process — lessons that can only be learned when you’re on set in full effect.

What was your favorite part of making Ricky? Memories from the process?

My favorite part of making the film was connecting with my actors prior to filming. I truly believe that building trust and understanding before the cameras started rolling [was] key to creating authentic performances. Whether it was working with professional actors or non-actors, I made it a priority to engage with each person on a personal level, ensuring they felt comfortable and connected to the story.

What was a big challenge you faced while making Ricky?

The biggest challenge I faced was always going against the clock. I needed more days to film this feature as stunts were involved, but we were only allowed 20 days to film. Additionally, racing against the sunlight at times made it even more difficult to capture the right shots. Some sequences required precise timing and coordination, and with the limited shooting days, we had to be incredibly efficient. Balancing these elements — staying on schedule, working with natural light, and executing complex stunts — made it a constant juggling act. But ultimately, it pushed the entire crew to be more creative and resourceful under tight constraints.

Why does this story need to be told now?

This story needs to be told now because recidivism still remains a pressing issue in the United States, which continues to have one of the highest reoffending rates in the world. Nearly 44 percent of ex-offenders are rearrested within their first year out of prison. The system is built around getting criminals off the street, but it lacks sufficient preventative measures to help ex-offenders successfully reintegrate and break the cycle of recidivism.

By telling this story, we can shed light on the human side of recidivism — showing the real challenges faced by individuals trying to rebuild their lives, and the systemic failures that make that so difficult. It’s a story about accountability, second chances, and the need for reform, not just in policy but in how we as a society view and treat people after they’ve served their time.

Tell us why and how you got into filmmaking.

I’ve been drawn to the arts ever since I was young. I would spend hours creating stories through drawings, using art as a way to express my imagination and thoughts. As I got older, my passion shifted toward acting with the same through line of expressing myself utilizing art. However, after high school, I took a bit of a hiatus from the arts while I tried to figure out my next step: joining the military during this time. During that time, I realized that the pull of creativity and storytelling never really went away — it kept calling me back.

When I returned back to undergrad after taking some years off, I found that my desire to be in front of the camera had shifted. I no longer felt the same urge to act anymore. Instead, I felt a deeper curiosity about the process of filmmaking itself — the way stories come together, the technical aspects of the craft, and how a vision is realized from behind the camera. So, I made the decision to change my major from business to film studies. It was then that I met a particular professor that I truly felt my path was set. This professor became a mentor to me, offering guidance and insight that helped solidify my future in filmmaking. His rigorous teaching style, support, and belief in my potential reinforced the direction I was heading, and from that moment on, I knew this was the field I was meant to pursue.

Why is filmmaking important to you? Why is it important to the world?

Filmmaking is important to me because I’ve seen firsthand how deeply it can impact individuals and communities. From a young age, I was drawn to the power of cinema as a way to tell stories that connect people, reflect societal issues, and provoke thought. For me, filmmaking became a form of therapy — a way to process and understand my own experiences by turning them into narratives that others could relate to. When I created a project based on my past, I do it not just for myself, but as a way to open up a space where others can see their own lives reflected, too.

The impact of filmmaking, for me, has always been in the moments when audience members come up after a screening and share how they saw themselves in the story. When they find pieces of their own experiences in my characters or my film, it creates a shared space for conversations, where the personal becomes universal.

On a broader level, filmmaking is important to the world because it holds the power to spark change, challenge perspectives, and bring attention to issues that matter. Whether it’s by shedding light on social injustices, amplifying unheard voices, or simply making us feel more connected to one another, filmmaking holds a unique place in our ability to understand and shape the world we live in.

If you weren’t a filmmaker, what would you be doing?

If I weren’t a filmmaker, I would still be a college professor in the arts or a mentor in some capacity. It’s always rewarding for me to see the next generation of artists find their voice while developing their craft. Teaching allows me to pass on the knowledge and insights I’ve gained through my own experiences while also fostering creativity and critical thinking in students. Whether it’s in filmmaking, storytelling, or any other art form, I believe in the power of education to inspire and shape future artists, and being part of that process would be incredibly fulfilling. Even outside of filmmaking, the idea of mentoring and guiding others in their creative journeys would still feel like my calling.

What is something that all filmmakers should keep in mind in order to become better cinematic storytellers?

One of the most important things filmmakers should keep in mind is that the learning process never stops. There’s always more to learn, whether it’s mastering the craft of storytelling, exploring new techniques, or staying up to date with evolving technology. Cinema is a constantly shifting landscape, and embracing new tools and technologies can open up endless possibilities for telling stories in innovative ways. Additionally, surrounding yourself with a community of like-minded storytellers is crucial. Finding your tribe — people who challenge, inspire, and support you — can elevate your work and broaden your perspective. Collaboration is key in filmmaking, and learning from others not only enhances your technical skills but deepens your ability to tell more compelling and authentic stories.

Who are your creative heroes?

My creative heroes are diverse, but each has had a profound impact on me. A Tribe Called Quest was a major influence in my early years. Their music spoke to me on a deep level, and their lyrics helped me navigate some of the roughest patches of my teenage years. Sidney Poitier and Cicely Tyson also had a lasting effect on me. Growing up, I was inspired not only by their incredible talent but also by their Caribbean roots. They made me proud to share similar roots and their success as pioneers made me believe that one day, I too could follow a similar artistic path. And, of course, Spike Lee. Before I had the privilege of meeting him as a professor at NYU, his work made me transition from wanting to act to aspiring to be a film director. His unique voice and bold storytelling style truly inspired me to pursue filmmaking as a way to tell stories that resonate with others.

Which of your personal characteristics contributes most to your success as a storyteller?

My ability to find inspiration in anything around me — whether it’s a life experience or even something as simple as an object — has been key to my success as a storyteller. I’m constantly looking for new angles and creative sparks in the world. That adaptability and curiosity allow me to stay resourceful and innovative, no matter the circumstances.

Tell us about your history with Sundance Institute. When was the first time you engaged with us? Why did you want your film to premiere with us?

My first engagement with Sundance was a lunch meeting with Michelle Satter in lower Manhattan after she saw my short film, Ricky. From that moment, I felt an instant connection with her and knew this was the right place for my work to grow. Later, I was invited to apply to the [Screenwriters] Lab, and my co-writer, Lin Que Ayoung, and I completed our first draft just before the deadline. The waiting period was nerve-wracking, but we remained hopeful. After our initial interview, we didn’t know what to expect — until weeks later, when we were invited for one more interview, which turned out to be the moment we learned we’d been accepted into the Labs. We were in complete shock and truly honored.

Being part of the Sundance Labs has been transformative. The support, wisdom, and guidance from Michelle, Ilyse, Shira, and the incredible advisors have taken our film to the next level. 

I want Ricky to premiere at Sundance because this is where the script, which explores recidivism, evolved from an idea into a fully realized debut film. Sundance has been essential to that journey, and it feels only right for it to debut here.

What’s your favorite film that has come from the Sundance Institute or Festival?

My favorite that has come from the Sundance Institute by far is Fruitvale Station.