Brotherhood March Update
Dear Friends,
It’s a big week for all of us at Brotherhood. I hope you’ll enjoy the updates below, especially our newest video about the process of bringing the music of the show to life in the recording studio. All my best to you!
PRE-PRODUCTION
This week we’re thrilled to announce that Brotherhood has officially entered pre-production. If you don’t work in film, you may not know what that means. You can essentially consider this as the "all hands" call to prepare to make the movie. Our production office is now open, the production team is on site moving things forward every day. Production design and wardrobe teams are now actively working to prepare for the shoot. Locations are going under contract. Filming schedules have been drafted. Entering pre-production is a key signal that we’re actually making this movie for real! What an exciting time.
EPISODE 3: BEHIND THE SCENES OF THE RECORDING PROCESS
Our behind-the-scenes series continues this week with a 12-minute inside look into the recording process for Brotherhood. Watch as we start with simple piano tracks, then layer in drums, guitars, latin percussion, horns, strings, and more to create the musical world of the film. Special thanks to Scott Wiley and the team at June Audio Recording Studios in Provo, UT for their hospitality and impeccable work.
Watch Episode 3 here:
INTRODUCING THE BROTHERHOOD CREATIVE TEAM
Finally, today I’m thrilled to introduce you to the key creative team for Brotherhood. During the past several months, it’s been my privilege to find, meet, get to know, and begin collaborating with these inspiring creatives. I’m so grateful to have them all on board.
Oscar Ignacio Jiménez began his career as a Director of Photography with the filming of The Killing Of Two Lovers during completion of his undergraduate studies, which premiered to accolades at the 2020 Sundance Film Festival and was distributed by NEON. He become a recipient of the 2020 ASC Student Heritage Award for his photography on the film Gather - the inaugural recipient in his university's history. Among many others, he has served as the cinematographer for High Tide, Tokyo Cowboy, the award-winning short I Have No Tears, and I Must Cry, and for commercial work with The Killers, Christmas with The Chosen, and more. As a first generation Mexican-American, Jiménez draws influence shaped by his mother's empathetic artistic eye and father's philosophical view of the human experience.
Frida Oliva is a production designer from Mexico City with over 13 years of experience in film and television. A graduate of the Escuela Internacional de Cine y Televisión (EICTV) Art Direction program in Cuba, her recent credits include the Lionsgate feature Paradise Highway, Amazon’s Yearly Departed, the indie drama At the Gates, and the 1970s period film A Bling Bargain. Her work focuses on building atmospheres the audience may not consciously analyze but deeply feels, creating spaces that emotionally hold the story and give physical form to what begins as intuitive and pre-verbal. She is a member of the Art Directors Guild and the Production Designers Collective, a Women in Film Production Design Fellow, and a Berlinale Talents 2026 participant. She divides her time professionally between Los Angeles and Mexico.
Alan Salazar is a choreographer originally from Mexico City who grew up in Orem, UT, where he trained extensively in ballroom, jazz, lyrical, contemporary, ballet, partnering, and hip-hop at Center Stage where he eventually became a coach and director, as well. His choreography has been featured on Jimmy Kimmel Live, World of Dance, Dancing with the Stars, So You Think You Can Dance, The Bachelor, and on Disney’s High School Musical: The Musical: The Series where he was assistant choreographer. He has also contributed to tours and performances for Billie Eilish, Maks and Val Chmerkovskiy, and Andrea Bocelli. In 2016 and 2019 he was a finalist for the Capezio Choreography A.C.E. awards.
Edurne Fernandez is a Mexican costume designer based in Los Angeles, working across film, television, commercials, music, and theater. She has designed projects featured at the Cannes Film Festival (American Pavilion Emerging Filmmaker Selection) and award-winning shorts recognized by the Directors Guild of America. Her film and television work includes Welcome Back (HBO Max), the teaser for Clock (Hulu), and collaborations with acclaimed designers on productions for Netflix and Amazon Prime Video. Edurne has also assisted in large-scale productions including The Eras Tour and projects directed by Alejandro G. Iñárritu. Holding an MFA from California Institute of the Arts, she is known for her strong research-driven approach, attention to detail, and ability to build visually compelling characters across contemporary and period storytelling.
Supporting the message of BROTHERHOOD
We now have donation links live (one-time or monthly) for anyone who wants to help the message of Brotherhood move forward. The production of our film is funded, but we’re actively gathering funds to help us push the film’s message and build audience awareness for its release.
These are contributions—not investments—and they will support the real work of building momentum for the film and its movement behind the scenes. Monthly supporters help us most because consistency compounds over time. You can cancel anytime. We hope you’ll consider giving to help the important message of Brotherhood find its way into the world.
Donate Once Here:
Brotherhood Theatrical Release100% of your contributions go to the marketing of Brotherhood - A Cinematic Musical, to help this moving story reach as... Read more |
Donate Monthly:
*If you'd like to make a larger, tax-deductible donation to Brotherhood - A Cinematic Musical, hit reply and let us know. We have set up a fiscal sponsorship through the Utah Film Center, a 501c3, to be able to take your charitable donations.
Thanks so much for your support!
Don't forget to follow along as Brotherhood comes to life. Instagram, Tik Tok, and YouTube!
Member discussion