Q&As

2Tyme Media

Justin, can you tell us about your journey into filmmaking and how growing up in Bridgeport has influenced your storytelling?

Certainly. My journey into filmmaking is quite unique compared to many others in the industry. While we may share a common passion for the arts, my initial involvement was more business- oriented. I realized we were entering a "movie mixtape" era, and I made a deliberate decision to step into the field by leveraging resources from my other investments to create art myself. I’ve always had a deep appreciation for every aspect of filmmaking—writing, directing, acting, producing, and editing. I took on all those roles not only because it was necessary but because I genuinely enjoy the creative process. Growing up in Bridgeport has deeply influenced my storytelling. I had the opportunity to witness both sides of the socioeconomic spectrum—experiencing the struggles at the very bottom and observing the privileges at the very top. This dual perspective has given me a unique lens to craft stories that resonate with authenticity, depth, and relatability, which I believe audiences find compelling.

What inspired you to take on the challenge of directing not one but two films simultaneously?

Honestly, it was about getting the job done. Initially, Dead in a Day was intended to be more of a production-focused project, with much of the creative work being outsourced. However, as certain challenges arose, I realized it made more sense for me to take the lead on both the creative and production sides. I made this decision while I was already filming Bridgeport, and while it was a demanding task, it felt natural. At the end of the day, either you eat or you don’t.

How do these two films reflect your growth as a director and your vision for the future?

I'll put it like this: so far, the actor has the sexiest job, the producer has the easiest job, the director has the bossiest job, the editor has the hardest job, and the writer has the chillest job. I’ve done all of those roles for both of my first two films. But that has always been the case with my projects. I don’t view these two movies as too much different, there’s just more money and ‘legitimacy’ involved. If we’re talking specifically about the director role, my natural tendency is to lead and help others excel in their respective positions. That’s something I want to keep doing and I feel like as I’ve gotten older I’ve really dove into that role on and off set. People genuinely love acting; they love transforming 30-foot silver screens into mirrors where they can see themselves. So, for me, growing as a director is directly tied to the growth of the cast and crew in my films. If they’re getting better, the final product is getting better—so I must be improving too. Looking ahead, I imagine audiences watching these first few movies years from now and saying, “Wow, they all knew each other and worked together back in the day? That’s crazy.”

Do you feel a sense of responsibility to represent Bridgeport authentically on screen?

Nah, not really.
Not yet at least. If the world wanted to see what was actually going on in Bridgeport, CT, there would’ve been camera crews here years ago.
For now, let’s dramatize everything, tell compelling stories, and introduce ourselves to the world. Once we’ve got their attention, that’s when we can start making the documentary-type content. At that point, people will actually care. They’ll wonder, “What’s really happening in Bridgeport that’s pushing out so much dope content?”

What was the initial spark behind the concept of "Dead in a Day"?

So initially, Dead in a Day was going to follow the husband. But, as I mentioned before, things got in the way. I ended up repackaging the film into something I had more control over—and to be honest, I like the script a lot better this way. Just wait until you see Day 2 Die.
If you’re asking how the script actually came about, I’ll put it like this: I heard Biggie was going to be in town, so I made sure he had something to stay for. It’s big business!

The title "Dead in a Day" is intriguing—how does it encapsulate the film’s message or themes?

When that shot clock is on, it’s either do or die—especially when the life of someone you love is on the line.

What unique challenges or surprises did you face while shooting this movie?

This was my first film so everything was new, but I like new. I rather get my takes from experiences, learning by doing if you know what I mean. Anyway, initially I was just an executive producer. My main focus going in to this film was ensuring the money was in place and the logistics were sorted. We ended up filming at one of my houses in Houston, which made things run a bit smoother and during this time I had a small role and I had a great time on set.
The main challenge came after the shoot in Houston. I don’t mean to be cryptic about what happened so I’ll explain. The cast and crew that I was initially working with ended up being super busy with big network gigs and we missed a few of target dates for the film’s release. Instead of waiting an unknown amount of time before it was completed, I had to get creative – like I said earlier, either you eat or don’t.
I wouldn’t say it was so much of a challenge as it was a surprise, but I’m glad it happened. I love how the story turned out, and it ended up being advantageous for the empire—both creatively and financially.

How do you hope audiences will feel or reflect after watching "Dead in a Day"?

I drop gems in all of my movies, so I hope the audience picks them up. Themes like investment, the presentation of oneself, fraud, greed, and knowing who not to play with—hopefully they’re learning while being entertained.
And if not, well, just make sure you watch the mid-movie commercials, because that really matters...
Kidding!

Bridgeport: The Movie “Every Empire Needs an Emperor" sounds like it has a strong narrative tied to power and relationships. What can you share about its core storyline?

There’s been a recent trend where women ask the men in their lives how often they think about the Roman Empire. The common answer is "often." Many believe it’s because men feel like their need to dominate or express themselves in a leadership role is stifled in their day-to-day lives.Shah doesn’t think about the Roman Empire at all.
He’s too busy building his own. His sole focus is growth and dominance. The issue he faces, however, is that he’s in a land where people are much less likely to bend to his will unless violence is involved.
What makes it even more complicated is the fact that Shah is spiritual and doesn’t want to continue down a violent path. So, he’s battling himself internally while facing external struggles. He has to figure out how to properly use his power while keeping the right relationships intact.
It’s a great starting point for a broader story—no, universe that will be a compelling watch for years to come.

How does the city of Bridgeport play a role in shaping the characters or plot of this film?

I could lie and say everything, but it’s closer to the opposite. Bridgeport serves as the backdrop for a story about a guy and his business. It’s not specifically about Bridgeport, but it was filmed here because I wanted to put my city on the map. If you’re from Bridgeport or anywhere in Connecticut, you’ll recognize the lingo, the clothing, the people—but that’s pretty much it.
Let me also say this: people really get killed where I’m from. People I know, people you know. And it’s not just Bridgeport—New Haven, Hartford, Waterbury, Stamford… it can get treacherous real quick. The world may not know that, but we do.
Telling stories that hit too close to home can be insensitive and cause more harm than good. That’s not the goal here. I want to create an enjoyable story that people from this area can be proud of. I don’t want to open old wounds by focusing on things that really went down.

Was there a specific event or person in Bridgeport’s history that inspired this story?

Nope, I just made something up that I thought was cool.

What do you hope this film will reveal about Bridgeport that people outside the community might not know?

The beauty, the aesthetic of the scenes—it's all very intentional and fire. People message me saying, "I need to go out there and check it out," and even people from here are like, "Bro, I never seen that side of the city."
I’ll definitely keep that going for sure, so I hope it will be noticed as we continue.

What was your process for casting the key roles in these films, and did you choose any local talent?

I call it "reverse role-ing." Basically, I crafted the storyline to fit characters and people I knew would be in the film. It made things easier that way—the acting felt more natural, and the scenes were more comfortable. I had a few people try out for the main roles and the best performers got it. From there I filled in the rest of the cast with the other submissions.
As for local talent, pretty much everyone, aside from maybe one or two, is from Connecticut. The Royce Empire employs friends and family—and why not? We're the best.

How do you balance your creative vision with the input of your crew and actors?

Great ideas can come from anywhere, so I keep the lines of communication open with everyone. A few hedge funds work the same way, its sometimes hard because people like to over embellish credit when ideas are used but there’s give and take. The best part is that I know how to get my point across without shutting others down, even if I don’t agree with a particular take. At times, I’m a bit more strict about what I need and how I want it done, but it’s a family environment, so we talk.
Also, a lot of the people on set want to do more than just occupy the role they’re assigned. So, I encourage them to express themselves and try new things—it’s the best way for them to get the hang of it.
About 30% of my time on set is spent teaching people what I know about something, and another 20% is just jokes and having fun... and I’m probably being conservative with those numbers..

What do you think are the most important qualities for a director to bring to a project?

Most times, the money and the director are the same person, so in that case, the only thing that matters is the export. Not how you feel, not if it’s cold, not if the actor has an attitude, or if the drone broke during a scene—get the job done. You the boss? Alright, then make it happen.
If you’re just playing the creative director role, then yeah, make sure the movie looks as good as possible and bring the best out of your actors. Open communication and comfort are key.

How do you see these two films contributing to the legacy of Bridgeport's creative scene?

It’s a great reference point. Things have happened before, and much more will happen after, but Bridgeport the Movie is the moment we can all agree on. Like B.C. and A.D.—lol, we’re gonna have to use B.B as a reference for the creatives in BPT.
In all seriousness, though, the premiere of Bridgeport the Movie was historic. It showed that this is what the people wanted and were craving, so I’m happy to contribute to that. Something historical happening in my city again is dope. We’ve got the Frisbee, Subway, and now Movies. However, I doubt it will just be seen as only a Bridgeport legacy in the future. I see it being a great deal bigger.

What message or feeling do you hope to leave with the audience after watching your films?

For these specifically? We can enjoy Black stories without all the crazy trauma and hyper hypersexualization.
And in the future? It’s not even just Black stories—it’s just good stories with Black people in them…

I’ll stop here before I start the rant.

As a Bridgeport native, how do you hope your films impact or inspire your local community?

Everyone should know by now that it’s possible. You can actually do it. There shouldn’t be any excuses anymore. People love to bring up haters and non-supporters, but no—it’s possible. I’m speaking from experience. Regardless of the caveats you might hear, it can be done. Eat or starve.

If you had to describe your directing style in one word, what would it be, and why?

Emperor.
Because I’m me in any and all roles—whether it’s in front of or behind the camera.

What’s next for you after these two projects? Are there any dream stories you hope to tell in the future?

More, is next, a lot more.
I could get specific about the 4+ productions we have lined up for 2025-2026, including sequels and other projects, but that wouldn’t cover the clothing line, the music, or the other products being produced.
The Royce Empire might even cure cancer—who knows? Stay tuned at royceempire.com to keep up with everything. We’re in motion now.
As for dream stories? I’m a fan of Sci-Fi, so I’ll probably try my hand at that.

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