Some films step into the spotlight with heavy, sombre intention, while others arrive like a burst of sunshine, wanting nothing more than to make you smile.
‘Bladez’, lovingly directed by Dustin Muenchow, belongs so delightfully in the latter, yet beneath its deliciously outrageous premise, colourful characters, and playful humour lies a director who pours absolute heart and precision into his craft.
Following Trish, a sweet, resilient teenager navigating family hiccups, romantic crushes, fierce rivalries, and her passionate dream to lace up her rollerblades again, the film wraps its arms around the unashamedly fun, nostalgic storytelling that feels so rare these days. For Muenchow, the sweetness and silliness are anchored by a deep, lifelong love for cinema, nurtured by the classic broad comedies that taught him the art of charm, timing, and visual rhythm. Years spent refining his touch in the editing room bloom beautifully in his directorial work, allowing Bladez to seamlessly blend camera movement, pacing, and performance into a rich, multi-layered comedy that feels wildly funny while keeping its characters’ hearts genuinely protected.
From the technical magic of Alyssa Sabo tackling multiple roles with effortless grace to the energetic, glittering rollerblading sequences, Bladez is a true labor of love from a filmmaker stepping boldly into his own spark.
In this warm interview, Dustin Muenchow chats about the sweet beginnings of his career, the spark that ignited Bladez, the joy of bringing its whimsical world to life, and the personal journey that made this his most special project yet.
- Dustin, congratulations on your latest film. How as your journey as a filmmaker been so far?
Dustin: Its been surprising! I’m now 36 and I’ve edited many episodes of TV and a feature! I feel very lucky to be making a living doing what I’ve wanted to do since I was 9 years old. I sort of fell into working in Comedy 10 years ago by freelancing at JASH which was a competitor to Funny or Die and College Humor. It was there that I found I had a knack for comedy and had the privilege of working with extremely talented colleagues. I think most importantly I had wonderful support from my parents. Neither of my parents work in the arts or entertainment but they both enjoy art as a hobby so I think when they saw my interest they fully supported me, they love movies!
- ‘Bladez’ is a really interesting film, from its themes to the style of storytelling. What was the initial idea that made you think, “This is a film we have to make”?
Dustin: It came from knowing Alyssa Sabo. She’s one of the most talented and funny people I’ve had the pleasure to call a friend and collaborator. She told me about this old web series idea she had called Bladez and I loved the style of comedy. Then later in 2024 I edited a pilot called Halfrican American that won the special jury prize at SXSW. I got excited seeing a comedy do well in a festival setting. So when I got back I told Alyssa we should dust off Bladez and expand it into a Short/Pilot. We made this because no one was making the type of comedy that we love!
- The story is outrageous on the surface, but Trish is also dealing with abandonment, family problems, rivalry and the desire to belong. How important was it to you that there was a genuine emotional story underneath all the absurdity?
Dustin: Thanks for picking up on that. It was extremely important. There was a conscious effort that no matter how stupid or ridiculous the story got that the characters had real stakes and emotions. They aren’t there just vessels for jokes. I find comedy lands so much better when you can believe in what you see on someones face. Airplane! is absurd but the story and characters all act in realistic ways within the rules of the world. This also lead to wanting to highlight the rollerblading and make it COOL (because it is).
- What was the casting process like, and what specifically were you looking out for, considering that the characters in the film are quite funny?
Dustin: That’s all Alyssa. She has essentially been casting this in her head for the last 5 years if she ever made it. It’s almost exclusively people she’s performed comedy with. This enabled us to work extremely quickly because everyone already had a rapport. I had already collaborated with over half of the cast before shooting. Dennis Hurley who is an absolute gem and was the #1 person we needed in the movie. No one else was going to play Chunks. We built the shooting schedule around him since he currently lives in Boston and we flew him out to LA for production.
- What would you say was the biggest challenge you and your team faced in the entire process of making this film?
Dustin: The hardest thing directing this project by a country mile was figuring out our Parent Trap scenes with Alyssa playing multiple characters in scenes together. My goal was to have enough camera moves in and out of the scenes where she was playing multiple parts so they would feel dynamic and I could trick the audience into not initially notice she was playing against herself. I was EXTREMELY relieved that all of the eyelines worked because at locations like the pizza restaurant we had limited time so I had to trust my gut and planning that my blocking made sense.
- How did you approach filming the skating sequences so that the action had its own cinematic energy?
Dustin: That was done by doing some shot for shot recreations from movies like Thrashin’, Rad, Airborne, and Brink! Vince Patin our cinematographer also had the great idea of using a technique with the DJI Ronin 4D that was used on Civil War for the combat sections. There’s a setting where you freeze one part of the gimble but other parts are still active so you’re able to have this really neat hybrid of stabilization with a handheld feeling. That’s why all of the shot’s with Robbie Pitts doing amazing stunts feel so different.
- Would you say that your experience as an editor influenced the way you designed the scenes in this film, before you ever got to the editing room?
Dustin: Completely. I made an animatic off of storyboards that I drew of the entire movie. I read all of the parts of the script and cut it together with music. I knew how every scene and designed transition worked prior to being on set. My editing background gave me confidence in committing to some of our more complicated ‘oner’ sections.
- Looking back at your earlier work, what do you think ‘Bladez’ reveals about you as a filmmaker that you weren’t ready to express five or ten years ago?
Dustin: I think it shows a maturity and confidence in directing and execution. It’s a project I couldn’t have made 5 or 10 years ago. I needed my reps editing comedy to understand beats and performances. It’s also the most complex blocking I’ve done on a project. There’s a surprising amount of big moves that were only possible at this budget with advances in camera tech. We shot this 80% on the DJI Ronin 4D and I used it like a J.L. Fisher Dolly. Bladez was something that I put my whole heart into and swung for the fences. I wanted it to be the truest reflection of what I bring to the table as a director and to make something that no one else was making.
- I believe ‘Bladez’ could be interpreted in many ways. Was there a particular message or emotional truth you hoped audiences would take away beneath all the jokes?
Dustin: It’s corny, but it’s the power of friendship and believing in yourself. There’s also some aspects sex-positivity and self-love, with a joke that spans the length of the film.
- Lastly, what would you consider the highest and most satisfying achievement for your film?
Dustin: That some people who have seen the movie second-guess that Alyssa is playing multiple parts! It’s a testament to her performance. Planning those scenes out broke my brain on set!
When all is said and done, Bladez shines as a film that knows and loves itself completely. It’s bubbly, bold, and overflowing with joy, yet crafted with such exquisite care, warmth, and sincerity. For Dustin Muenchow, this lovely project is so much more than a showcase for broad laughs; it’s a sweet reflection of every lesson learned throughout years of editing, directing, and celebrating the stories that shaped his soul.
His tender attention to performance, graceful movement, and visual detail gives Bladez a lovely, confident rhythm, while its heartwarming themes of female friendship, self-love, and trusting your inner light keep all the fun anchored in something deeply human.
Hearing that viewers genuinely double-take over Alyssa Sabo’s multi-character magic brings a smile to Muenchow’s face, a testament to the thoughtful artistry tucked inside every frame. With Bladez, Muenchow hasn’t just crafted a joyful showcase of his vision; he’s made a beautiful statement about the director he is becoming: one who isn’t afraid to embrace the quirky, take brave creative leaps, and above all, create the kinds of heartfelt, playful films he truly loves.
