BREANNA LYNN PRODUCER & DIRECTOR
1. Why did you do this project, especially when there was no financial support?
The lack of financial support was ironically one of the major catalysts.
The commercial world has intentional barriers to entry. Agencies want directors with previous commercial experience before trusting them with high-budget campaigns, and automotive advertising is one of the most expensive verticals. Naturally brands want proof that their money is in safe hands.
I realized if I want to enter that space, I needed to create the proof myself. Drive it like you stole it was a way of wedging the door open for the insanely talented people i work with as well. We were creating our own permission instead of waiting for the industry to give it to us.
If I want to make work at a certain scale, I have to demonstrate that I can hold the weight of it. Not just creatively, but logistically and emotionally as a leader. This project was a way of proving we can build something ambitious from belief and preparation alone; Our community was able to pull off what a multi-million dollar budget can.
There’s something powerful about the moment a group of people decide an idea is worth making simply because they believe in it. Not because a brand asked for it. Not because a budget justified it. Just because the feeling behind it was strong enough to bring everyone together.
In a strange way the project began to feel like a dare. As more people said yes, the film created its own gravity. Suddenly we had access to many of the same elements you’d find on a large commercial production: shooting on an active airport runway, working with a russian arm camera car, using Arri’s virtual production studio.
The difference was that we had complete creative freedom.
Ironically I don’t think the experience would have felt nearly as magical if it has been properly commissioned. The constraints were what made it special. We were trying to prove something to ourselves and the industry, and in the process we were given the rare chance to experiment at a scale that usually comes with far more rules.
Photos by Sonia Broman
2. A lot of people talk about creative community, but this project actually required people to show up for each other without a safety net. What do you think made so many talented people trust the vision enough to give their time to it?
Trust comes from preparation. When you ask people to volunteer the level of time and talent required, you’re asking them to take a real risk with their energy. That means the responsibility is on the director and production team to make sure that risk feels meaningful. There’s a weight to asking people to believe in something and commit themselves to it before it exists, and you have an obligation to honor that.
Before anyone even said yes on a phone call, I spent months thinking through the idea, the visual language, the logistics, and how we could realistically pull something like this off. By the time I began to pitch to collaborators, Drive It Like You Stole It was far from a loose concept. It was a clear plan.
Beyond that, I think people respond to sincerity. Everyone who joined this project could feel this wasn’t about ego or spectacle. It was about making something beautiful together.
Drive It Like You Stole It became an experiment in collective belief. What happens when a group of people decide an ambitious and slightly insane dream is worth building together? People want to be part of something inspiring.
3. There’s something cinematic about the setting alone: night shoots, an airport runway, fast cars cutting through empty space. What emotional tone were you hoping people would feel when they watch the film?
Driving has always had this strange poetic quality to me. It’s freedom, agency, moving forward into the unknown. At the story’s core, Drive It Like You Stole It is about fulfilling a dream. Everything else fades away and you’re left with the enormity of how far you’ve come. Driving at night captured that feeling perfectly. It’s a short throw of visibility ahead of you as you move into the unknown, and everything else fades into darkness. It’s dangerous, beautiful, exhilarating. It’s exactly what chasing a dream feels like.
The airport runway amplified those feelings. It’s an enormous stretch of space designed for motion, but it’s meant for the motion of something much bigger than yourself. Initially we considered staging the race on an actual racetrack, but the runway became much more symbolic. The car may not have wings, but in that moment she feels like she’s flying. It’s not about the physics, it’s about the feeling.
There’s also a surreal quality to the scale of it all. Once her competitor has spun out, she knows she’s won and continues to race down the runway for the thrill of it. Time slows to a halt and she imagines her younger self beside her, sharing in the joy of the moment. She reflects on all of the dreams her childhood self had and her dad who inspired her to get behind the wheel. It’s a story about gratitude. For a brief second, the empty runway becomes her own universe. The negative space around her is no longer a reminder of this place meant for something bigger, but turns into possibility.
Emotionally, I hoped the film lands somewhere between adrenaline and awe: being young, moving fast, a little reckless, like the world is spinning a bit too quickly, but you have this one moment of brilliant clarity.
PHOTO BY SONIA BROMAN
4. When you strip away budget, brand mandates, and traditional production structures, what does filmmaking start to feel like again? Did the project reconnect you to something about creating that can get lost on bigger sets?
I cannot even begin to properly express what the production of Drive It Like You Stole It meant to me—not just as a director and producer who gets to do this for a living (pinch me), but as the grown-up version of the kid who dreamed about making movies.
I think everyone on that set felt a little closer to the reason most of us fell in love with filmmaking in the first place. When there’s no client or financial structure holding everything together, you’re forced to really interrogate why you’re doing it. There is no tangible payoff waiting at the end. When you’ve been working into the middle of the night for weeks on end, the only reason to keep going is you genuinely love the work.
That creates a very different energy on set. Everyone is there because they want to be. Decisions become creative conversations rather than negotiations. There’s a shared respect from knowing the people around you are showing up for the same reason you are: everyone loves the craft.
Drive It Like You Stole It shifted how I think about leadership. When people feel like they’re participating in a shared vision rather than executing someone else’s orders, they bring a different level of care and imagination to the work. Everyone benefits, especially the client on the other end when it is a commissioned project.
In a way, the film became a reminder we’re all still the kids who grew up with big creative dreams. Approaching the work with gratitude and an air of play doesn’t make it less serious; it makes the work stronger. In an industry often defined by pressure and burnout, Drive It Like You Stole It offered a glimpse at another way.
5. Looking back now that it’s finished, what surprised you the most about what the project became? Was there a moment where you realized the idea had grown bigger than what you originally imagined?
I was floored by how many people continued to carry the project with them long after the shoot ended. During production, everyone worked incredibly hard to make this all possible. What moved me the most was watching how invested people remained afterward, even people who weren’t directly involved. Months later, I would be on a scout talking to other New York filmmakers (people who hadn’t been a part of the project), and Drive It Like You Stole It would come up in conversations. It had somehow entered the cultural dialogue within our creative community.
People were curious about how we had pulled something like this off without funding, and that conversation kept circling. At a certain point, I realized Drive It Like You Stole It wasn’t just a film anymore: it had become a proof of concept. If we could build the infrastructure of a high-level commercial production through belief, preparation, and community alone, it started to raise a bigger question: what might happen if more projects, even those with major budgets and client expectations, incorporated the same spirit?
When you’re making something like this, you spend most of your time focused on practical problems: securing the location, making sure the stunts are safe, figuring out how to translate the images in your head into something real. The scale of this production required me to stay very zoomed in.
It was only in the quiet once everything wrapped that I realized we also created something emotional for the people involved. Seeing that sense of ownership spread across the crew (and even the larger filmmaking community) was the moment it really hit me. The idea grew into something so much bigger than I had originally dreamed it could be.
KITTY LEVER ACTOR
1. A lot of people talk about creative community, but this project actually required people to show up for each other without a safety net. What do you think made so many talented people trust the vision enough to give their time to it?
I think people who live in New York City or moved here to pursue their creative dreams have an innate desire to be part of something bigger than themselves, especially those seeking what their hometown or life previously couldn’t provide. I think when you get a bunch of people excited about an idea and emphasize that it is no budget, but experience, it almost creates a deeper feeling of connection, especially when the goal is to grow and evolve the craft, not just to make a check. Freelancers don’t have a daily work community, so sometimes saying “yes” is just about sharing a moment in time to create something bigger than ourselves. We all love being on set, especially when it isn’t called “work,” it’s “look at this cool thing we were able to do.” This project allowed all of us to connect, work toward something, and gain professional experience. Showing up is also deeply inspiring; I felt a massive surge for my own creative passion projects after this one.
2. When you strip away budget, brand mandates, and traditional production structures, what does filmmaking start to feel like again? Did the project reconnect you to something about creating that can get lost on bigger sets?
When you strip away the logistical aspects of filmmaking, it feels like magic. It feels cliché, but truly, filmmaking is all about telling stories and making the viewer feel something. Being in the process of creating the film and witnessing the magic before it touches others feels like holding in a secret. It’s a beautiful moment you can share with the set community. It’s what bonds production sets so deeply. This project just had a fiery passion behind it. Brea is a life force; she’s so excited and patient with what she’s creating. Her direction felt more potent than what you’d get on set if the director isn’t as connected to the project and is only doing it to get paid. Her enthusiasm rippled to everyone—it’s the reason we are all brought together. So having that beating heart energy on set was everything. It reconnects you to passion, how films make people feel, and their capacity to create change and inspire.
3. This film was made with basically no budget and a fully pro bono cast and crew; what made you say yes?
Success to me is being a part of massive projects with talented individuals working in an orchestrated production to create something. I've never been motivated by money, I'm motivated by ambition, creativity, and community. Working alongside people to create something ESPECIALLY when there isn't a budget, lights up my soul. It's what living in New York City and amongst creative geniuses is all about. If we were only motivated by money, there'd be no art.
Photos by Sonia Broman
4. How would you describe the energy of the set (or other aspects of production, if you were involved)?
The energy of the set was bustling like a small village. Each sector of the village operates within their assigned role... Teams of hair and makeup, lighting, production, camera operating, talent, drivers... the list goes on and on. Vibrant and alive. The shoot was at night which I think always adds a little bit of buzz and excitement. When the world goes quiet, your phone isn't riddled with emails and texts, and you can purely focus on the project at hand... That's what working at night feels like to me. Couple that feeling with fast cars and airplane tarmac and it feels like you're living within a movie.
5. What was the most memorable moment for you during production?
The most memorable moment was seeing how a car commercial is made. I never knew that the cars aren't actually driving!!! There's a screen outside of the window that makes it look like the car is moving but really it's a simulation. It was so cool!!!!
6. What made this project feel different from a typical commercial or film shoot?
I think the feel that makes it different is (respectfully) it wasn't creatively stiffened by a commercial client. I think when it's paid work, the concept gets diluted to something digestible, the styling becomes so defensive that it loses any character, and the commercial never feels like it actually speaks to you. Because this is a passion project and spec, it gives creatives the opportunity to get experience while also creating something that feels real.
7. If an outlet were to quote you directly, is there anything you'd especially love to highlight or say?
Creativity and organized passion is alive and well but it doesn't happen without action. You never know how many people are willing to participate in your idea. I think a lot of times we think we have to have a huge budget to bring something to life, but in New York, sometimes the idea is enough. Community creation purely for the sake of art and experience is what impacts culture, it codes new DNA and is a butterfly effect.
CASEY RUTHERFORD STUNT DRIVER
1. This film was made with basically no budget and a fully pro bono cast and crew; what made you say yes?
I was sent the opportunity from a friend, and asked Brea Lynn if I could help out as the stunt driver. One of my favorite jobs I have ever done leading up to this was a spec shoot for a tire brand that we created with some friends. The freedom to create interesting shots is what draws me to these spec shoots because generally on car commercials it is fairly tame and there is strict scheduling. Also any time I'm able to drift a high performance car like that for free, I’ll always jump on that opportunity!
2. How would you describe the energy of the set (or other aspects of production, if you were involved)?
The energy on set was pretty special, these were all new faces to me (I am a west coast guy with an east coast crew), everyone seemed very excited and friendly. I did not know what to expect with a pro bono crew but everyone was really great at their respective jobs and clearly had plenty of experience. Additionally, Brea Lynn was an absolute sweetheart of a human. Very gracious to everyone, humble, and happy. These are important qualities to have in this industry, it was a great pleasure to work with her, and clearly she has unbelievable talent in her craft.
3. What was the most memorable moment for you during production?
The most memorable moment was the drifting 180 that myself and Joey (camera car driver) did a few times and nailed. A talented camera car driver I had the pleasure of meeting, it was awesome to have the trust, synchrony, and confidence to work alongside him for all of the driving sequences.
4. What made this project feel different from a typical commercial or film shoot?
Brea Lynn obviously had a shotlist, however she really allowed Joey and I to talk about shots that we thought would be cool, and really gave us unlimited freedom to do whatever we wanted. As mentioned earlier, big budget commercials have very strict timelines and shots to get. Also there's so many moving parts on those bigger sets that everything ironically moves slower. This set was running efficiently and smoothly.
5. If an outlet were to quote you directly, is there anything you'd especially love to highlight or say?
It speaks volumes that someone like Brea Lynn can pull such a large and talented crew together, and to work for free. I think it says a lot about her ability to use her network well, and her gratitude will have everyone coming back to work for her again. I also am very impressed with the final product, the story and the shots are beautiful. I believe this was one of her first car spots, and she knocked it out of the park! I can't wait to create more with her in the future. The car was a blast to drive, freedom to rip around an airstrip in New Jersey, and freedom to burn through some tires—that is always a wonderful day.
SONIA BROMAN PHOTOGRAPHER
PHIL WINTER
1. This film was made with basically no budget and a fully pro bono cast and crew; what made you say yes?
I really loved the deck and the vision. I saw that there was a lot of work put into bringing this together which made me appreciate the project. Also working with a diverse team.
2. How would you describe the energy of the set (or other aspects of production, if you were involved)?
The set was fun, people were helpful, and at the same time ready to get things done. A good combination of fun and staying on track.
3. What was the most memorable moment for you during production?
I think it was really cool that we were in the middle of an airport with all these cool cars and people.
4. What made this project feel different from a typical commercial or film shoot?
It felt collaborative; everyone had a role and was trusted to do it correctly. No one was micromanaging, trusting the process.
5. If an outlet were to quote you directly, is there anything you'd especially love to highlight or say?
I flew back from Paris that night and went from the airport straight on set, it was such a cool experience I almost forgot I just came back from PARIS.
AATHIL CHATURVEDI CO-WRITER
1. This film was made with basically no budget and a fully pro bono cast and crew; what made you say yes?
I was particularly excited by the story and high level of attention to detail that went into every aspect of production. It felt like one of us was being handed the keys (no pun intended) to market for a billion dollar company and do it our way. Marketing is so dependent on people’s emotions and trying to elicit a certain reaction, however it often feels contrived, artificial, and lacking emotional depth. This came from a sincere place of passion and lived experience– both of which are what I consider the most exciting part of making art. Finally, something cool and artistic can exist alongside a product whose reputation for sleek sophistication has been diluted by suburban dads and their shitty teenage sons. And Brea is an absolute visionary! I will say yes to any passion project of hers for as long as I live, and probably after.
2. How would you describe the energy of the set (or other aspects of production, if you were involved)?
I was involved in the intimate aspects of pre-production, particularly idea generation and script-writing. This basically meant Brea and I were on the phone for hours at a time, fluctuating between deep diving into work and sidebarring about our own lives. The energy was exactly that of the best creative pursuits; we had a very concrete goal in terms of vibe and feeling, and no clue how we were going to get there. We discussed on a personal level what this story means to her and how to accentuate it in a way so that the emotional beats would tie into both the brand and the idea itself. I am happy to say we grew closer through the experience. I was also in the midst of getting ready to move to New York at the time. Seeing how Brea was able to pull all of this together really inspired me to take the leap, because so much of this project was made possible by the community she has built in this city. The energy was so comfortable that it helped build my confidence to do some of the most uncomfortable things ever.
3. What was the most memorable moment for you during production?
While I was not involved in the actual production of the project, I remember being overcome with pride while watching my friend pursue her passion project and tell a story that was dear to hear. For someone who has spent so much time executing ideas for other artists, it was great to see her channel her own voice. And I was remarkably impressed with her screenwriting ability (and I've read a ton of scripts). I would get phone calls every other day with updates like “so and so agreed to do this...” or “we’re getting this location for free because of this random thing that happened...” It felt like fate in the best way possible and helped me understand that when you put yourself out there in the most sincere way, the universe will give back to you.
4. What made this project feel different from a typical commercial or film shoot?
This felt much more based on the idea than the execution. We were not creating for a mandate, quota, or fee. We were trying to tell a story. It just so happened we got to use sick cars in the process.
5. If an outlet were to quote you directly, is there anything you'd especially love to highlight or say?
It is rare that working professionals who have all taken such tremendous risks to pursue creative careers come together to work on something out of love and nothing more. I think we were all originally drawn to this line of work because of our undying passion, and when you see someone with the tools, talent, and vision to execute their idea, your inner artist lights up and you can’t help but say yes.
EVAN SAGADENCKY MOVEMENT DIRECTOR
1. This film was made with basically no budget and a fully pro bono cast and crew; what made you say yes?
There’s not many people I would step into the unknown with on sets, but Brea is definitely one that I would truly do anything for. Her warm leadership and clear directorial POV are so engaging and energizing… it’s hard to say no to stuff like that.
2. What was the most memorable moment for you during production?
It was a long day but it was really cool being with a bunch of people who just wanted to make something unique and interesting. It sounds silly but it can be rare.
3. What made this project feel different from a typical commercial or film shoot?
The people! The people! The people! Brea onboards collaborators yes, but also, unknowingly or not, creates community.
PHIL WINTER
MYLES CABA DIRECTOR OF PHOTOGRAPHY
1. This film was made with basically no budget and a fully pro bono cast and crew; what made you say yes?
When Brea came to me with the idea I was instantly extremely hooked and interested and it literally became our baby. Every ounce of favors I could pull I did and any and all connections I had were used because of how much I believed we could make something really really amazing and I felt that same amount of belief from Brea. It was like a breath of fresh air to be able to make something that truly felt like art.
2. How would you describe the energy of the set (or other aspects of production, if you were involved)?
Electric and also extremely stressful. I've never in my life more felt all the weight of months of prep looking me directly in the face but at the same time I've never had that much fun on set.
3. What was the most memorable moment for you during production?
When Brea called me and told me the Russian arm was happening and then seeing it in real life.
4. What made this project feel different from a typical commercial or film shoot?
It was made completely from passion and drive and a genuine want to create something from everyone on set.
5. If an outlet were to quote you directly, is there anything you'd especially love to highlight or say?
I'd like to give my deepest thank you to everyone who believed in Brea and I, especially to the Camera & GnE team that made this project happen. It was an absolute sea of people working on this project and it wouldn't have even kind of been possible without them and all their hard work across those two days.
ERIC WANG DRONE OPERATOR
1. This film was made with basically no budget and a fully pro bono cast and crew; what made you say yes?
Brea really sold me on the concept. A Fast & Furious styled film, shutting down an airport to fly drones and chase cars in the middle of the night, how could I say no? I’ve put together my own spec films before and really appreciated the help that everyone has given me in the past. It's honestly really impressive that Brea and crew were able to pull such a large scale production off of no budget.
2. How would you describe the energy of the set (or other aspects of production, if you were involved)?
We shot this on an absolutely frigid night and everyone really brought their A Game. There was a liveliness on set that cut through the cold and I think everyone knew we had to be diligent to get it done with the scope of work and conditions that we had.
3. What was the most memorable moment for you during production?
I remember pulling up to set with my drone tech Gabe and seeing the hanger and arm car and getting super stoked. I think for me the absolute highlight was ripping a shot with the picture cars around a corner with a plane on the tarmac in the dark and just thinking “damn, that’s gonna be one of those banger FPV shots that I’ll remember for a long time”.
4. What made this project feel different from a typical commercial or film shoot?
I think it’s both the impressive scale all while being largely pro bono work from all departments. Everyone brought their A Game despite the cold and dark and it really pulls away from a typically commercial or film shoot.
5. If an outlet were to quote you directly, is there anything you'd especially love to highlight or say?
Highlight the aspects of the scope of work and really cool FPV shot on the tarmac. You can quote this too: "I was super stoked with the concept, and just thought we had to pull out all the big toys. In the air, we had the Inspire 3 as our gimbaled drone, and the RED Komodo on FPV for the racing scenes. I think the aerial picture quality really made a difference."
PHIL WINTER
EMME GEORGE MAKEUP ARTIST
1. This film was made with basically no budget and a fully pro bono cast and crew; what made you say yes?
The project already felt extremely well produced and organized, with a strong vision in place, which made me feel comfortable joining the team pro bono.
2. How would you describe the energy of the set (or other aspects of production, if you were involved)?
The energy on set was genuinely good. Everyone showed up ready to do their part, and the overall vibe was very positive.
3. What was the most memorable moment for you during production?
The most memorable moment on set was watching all the looks come together. Once the talent was finished with glam and styling, the vision really came to life.
4. What made this project feel different from a typical commercial or film shoot?
I feel like the number of people on set really made it feel different from other commercial shoots. There were so many people but everybody had their purpose to make the night flow smoothly.
5. If an outlet were to quote you directly, is there anything you'd especially love to highlight or say?
Styling and glam slayed.
KAYRA THEODORE HAIR ARTIST
PHIL WINTER
1. This film was made with basically no budget and a fully pro bono cast and crew; what made you say yes?
Honestly the crew. I've worked with many of them on a previous project and they made me feel so welcomed. When you cross paths with people that have such beautiful hearts, how could you not be there for them when it's time to pull off a project where they need all hands on deck?
2. How would you describe the energy of the set (or other aspects of production, if you were involved)?
I could feel the excitement of wanting to give it our all in this with hopes that it will progress our work. Imagine a group of talented people who are striving to find their place in the creative world coming together. It felt like an Avengers moment, not to sound dramatic haha!
3. What was the most memorable moment for you during production?
After I finished doing all the lead talents' hair, everyone's reactions reassured me that I helped bring the vision to life. Hair goes a long way in telling a story and to get acknowledgment in my efforts meant a lot.
4. What made this project feel different from a typical commercial or film shoot?
I've never been on a production this grand. It blows my mind how someone can have an idea and it can get manifested into this entire production. This was not a regular spec commercial, this took real grit and passion to pull off.
5. If an outlet were to quote you directly, is there anything you'd especially love to highlight or say?
I hope they can highlight the efforts behind the scenes and what it took to make this happen. Everyone volunteered their time because they not only believed in the project but they also had trust in everyone's ability to execute their role, all out of our love for what we do and from the genuine relationships we built with each other.
THEO ROGERS SOUND DESIGNER
1. This film was made with basically no budget and a fully pro bono cast and crew; what made you say yes?
It’s compelling to work on something challenging with artists who have very high creative standards. I have a ton of respect for those involved. Working pro bono, everyone is showing up with instinct, trust and risk—that will drive the right people to go the extra mile.
2. How would you describe the energy of the set (or other aspects of production, if you were involved)?
It’s like starting an indie band with ambition to go all the way. How can we make this work with limited resources, lots of clever ideas, and how can we lean on our community to do it.
3. What made this project feel different from a typical commercial or film shoot?
With DILYSI, nobody was interested in playing it safe—even with certain technical prowess, you often need to throw stuff at the wall and see what sticks… that process can be often frustrating but almost always remarkable.
4. If an outlet were to quote you directly, is there anything you'd especially love to highlight or say?
Any of my above answers! Sound Design can really help bring something to life as it can be just as emotionally or tactically impactful as the visual experience. I was honored to help with this alongside some of the most talented individuals in their respective fields.