Writer, director, editor, producer

Moeller Makes Movies

I'm Matt. I make movies.

Genre-forward films, scripts, and post work with handmade tension, strange images, and a practical sense of momentum.

Introduction

I bring story, set experience, and production systems into the same room.

I'm a North Hollywood based writer, director, editor, and producer focused on horror, comedy, and character-driven genre work. I come from improv and DIY shorts, but I also understand the technical side of getting a production through writing, shooting, post, and delivery.

10+ Years across shorts, episodic work, live comedy, and small crews

20+ Screenplays spanning horror, comedy, sci-fi, and grounded dramedy

20y Performance background shaping actor-focused direction and timing

Check Out

Call 154

Award-Winning Horror Short

Best Horror Short winner at CenFlo and Best Actress Short winner for Kelly at A Night of Horror.

Every night at 11:11, Toni receives a call — her own terrified voice being hunted by a Lovecraftian creature with hypnotic, deadly eyes. Trapped in a note-covered apartment with her sanity unraveling, she must stop running and start fighting back before the next call is her last.

I wrote the first draft at FilmQuest 2024, shot it over two days in early January 2025, then premiered it back at FilmQuest 2025 exactly one year later. The goal was a technical stepping stone: the most contained horror film I could make with one actor, one location, and no room to hide.

Kelly Lou Dennis carries the terror through performance, while Emmy-nominated sound designer Patrick Hogan turns the apartment into something alive. Beneath the creature-feature surface, Call 154 is about how easy it is to get trapped in grief's bargaining stage, continuing my exploration of psychology, trauma, and identity.

View Full Project

Best Horror Short — Central Florida Film Festival 2026

Best Actress Short for Kelly — A Night of Horror 2026

Official Selection — Central Florida Film Festival 2026

Official Selection — Culver City Film Festival 2025

Official Selection — The Great Beyond Film Festival 2026

Official Selection — Fixion Festival 2026

Official Selection — A Night of Horror 2026

Writer

Contained horror, body panic, cosmic control, and memory-driven sci-fi.

My scripts tend to start with a clean genre engine, then dig into identity, grief, performance, control, and the cost of wanting to become someone else.

20+ screenplays across shorts, pilots, and features
Festival-recognized horror and sci-fi writing samples
Practical concepts built for strong images, clear stakes, and producible constraints

Writing samples

FilmQuest 2025 finalist

Soft

Horror short · Polish · 19 pages

An insecure fitness influencer injects an experimental steroid called The Dream, only to become soft-bodied prey in a satire of vanity, desire, and performance.

HollyShorts 2025 semifinalist

Puppeteers

Horror short · Polish · 13 pages

Two women who can see alien entities controlling human bodies fight to expose an invisible invasion before despair and control consume them.

FilmQuest 2024 finalist

Sleepwalker

Sci-fi short · Completed

A woman infiltrates a corporate tower and a memory machine to rescue a hostage before her own identity is erased.

Director

Grief-as-horror, romantic obsession, and a bigger practical production language.

I made Inhabitant to keep pushing the grief-as-horror thread that started in Call 154, this time through limerent love and the addictive pull of self-abandonment in romantic relationships. The story follows a woman who bargains with a red demonic entity, trading free will for love until she realizes too late that she never wanted the deal.

Expanded from one actor and one location to 3 leads, 2 supporting roles, background performers, 3 locations, and a company move
Shot over 4 days with stunts, special effects, custom costumes, a 10+ person crew, Blackmagic 6K, and anamorphic lenses
In post with Miguel Amodio , editor, and Jina An , Netflix composer, targeting a late 2026 premiere

Inhabitant

Inhabitant is less about traditional gore than emotional revulsion: ritual, desire, dependency, and the audience's discomfort with how messy a cinnamon roll can become. The goal is an intimate horror story with a larger production footprint and a more tactile visual language.

A red costumed entity confronts an actor on the floor during The Inhabitant — Custom costumes, stunts, and stylized genre imagery built into the production design.

The Inhabitant cast gathered outdoors during a night shoot — A four-day shoot across three locations with a company move and a larger ensemble.

Producer

Shot lists, notecards, and practical systems that turn ideas into shootable days.

I like the connective tissue: breaking the script into shots, building the day around real constraints, and keeping the creative plan legible enough for collaborators to execute under pressure.

Translate scripts into shot lists, coverage plans, and day-by-day priorities
Track SFX, stunts, costumes, locations, and post handoff before they become set problems
Build flexible systems for small crews where every setup has to earn its place

Production supplies gathered during prep for The Inhabitant

Production planning

Previz + Pitch

Make the movie understandable before asking people to join it.

Translate a director-facing pitch into concrete visual references the team can react to.
Use previz and look materials to align tone, creature language, lighting, and production scale.
Make the vision legible enough that collaborators can say yes with a clear sense of the movie.

Pitch deck previzShot + day breakdowns

View Pitch Deck

Previz

The Inhabitant team gathered together during development

Team Build

Turn support into a working creative unit.

Build buy-in with cast, crew, and creative collaborators before production pressure hits.
Keep the creative conversation practical: what needs to be built, found, scheduled, or solved.
Protect the director’s taste while making sure each department understands the same target.

Logistics + Risk Control

Find the production shape before the shoot finds it for you.

Scout locations for story value, visual texture, access, movement, and schedule risk.
Track practical needs across stunts, SFX, wardrobe, props, company moves, and location constraints.
Turn creative asks into a production shape the crew can actually execute.

4 shoot days
3 locations
1 company move
10+ crew
SFX stunts + costumes
6K anamorphic capture

Backyard location scout for The Inhabitant

Exterior industrial location scout for The Inhabitant

Crew preparing a practical rig inside a white studio space

Crew evaluating a suspended rig during production prep

Shot Cards

Shot Lists + Shooting Structure

Turn creative intent into decisions the set can follow.

Shot cards turned story beats into coverage priorities and day-by-day setup logic.
Planning tracked props, SFX, costumes, locations, and post handoff before they became set problems.
The goal is a set where the director can focus on performance and image instead of avoidable confusion.

Props / SFX budgetWardrobe planning

View Resume

Editor

Post-production that finds the rhythm, joke, tension, and usable story fast.

I edit narrative and unscripted work with a practical sense of structure, pacing, sound, promos, and delivery.

Edited 10 main Red Hot Tea episodes
Cut 11 shorts and promos for recurring segment formats
Comfortable with bright comedy pacing and dark genre atmosphere

Featured editing project

Red Hot Tea — comedy interview and reality-talk series
Recurring segments, guest conversations, promo clips, and social cuts
Fast-moving Y2K visual language with clear episode structure

Real Talk & Laughs with Nina Rose Carlin
Spilling the Tea with Jerrica Brooks
Rebecca Faith Quinn's Wild Confessions

Watch Red Hot Tea

View Resume CineSignal Profile MattMoeller.com