Behind nearly every great filmmaker lies a story of perseverance, creativity, and an unrelenting passion for the craft. In the competitive world of independent cinema, some visionaries rise by skillfully navigating the delicate balance between artistry and practicality. These are the storytellers who turn obstacles into opportunities and transform limited resources into captivating on-screen experiences. One such filmmaker is David Ryan Keith, the driving force behind Clear Focus Movies Ltd, a Scottish production company known for its genre-defining work in horror and action. David’s journey exemplifies the grit and innovation required to succeed in the demanding world of independent filmmaking.

Clear Focus Movies has carved out a unique space in the film industry by blending creative storytelling with a shrewd understanding of market dynamics. With a portfolio that includes genre favorites like The Redwood Massacre and recent action-packed projects such as I Am Rage, the company has built a reputation for delivering films that resonate with audiences while staying true to their independent roots. Their success is a testament to the power of calculated risks, a deep understanding of audience preferences, and the relentless pursuit of quality even under tight constraints

David’s journey into filmmaking is one of determination and lifelong passion. Growing up as a self-professed film enthusiast, he was deeply inspired by the golden era of cinema in the late ’80s and early ’90s. His fascination with storytelling began with the films he watched repeatedly as a child, eventually evolving into a career that spans decades. Through early experiments with short films and years of professional experience in videography, editing, and sound, David honed his skills and prepared himself for the leap into feature filmmaking—a leap that has defined his career and shaped the identity of Clear Focus Movies.

At the heart of David’s approach to filmmaking is an understanding that cinema is both an art form and a business. For independent filmmakers, this balance is essential. Clear Focus Movies has embraced a pragmatic approach to selecting and producing films, focusing on genres with dedicated audiences and market appeal. This strategy not only ensures that their films are seen but also allows them to remain financially sustainable in an industry often marked by unpredictability. It’s this blend of creativity and business acumen that has enabled the company to thrive and grow, even in challenging times.

Recently, I had the privilege of speaking with David about his experiences, insights, and vision for the future of Clear Focus Movies. Over the course of our conversation, he shared stories of early struggles, hard-won successes, and the lessons learned from navigating the complexities of independent cinema. Below, you’ll find the full interview, where David offers a rare glimpse into the life of an independent filmmaker and sheds light on the creative and logistical challenges behind bringing stories to life on screen.

What inspired you to become a filmmaker?

I think being a child of the ’80s and early ’90s really shaped my love for film. Back then, it was a completely different world—entertainment was limited, and I found myself drawn to movies. Even now, I’m still captivated by films from that era. For me, it was the golden age of cinema. We didn’t have DVDs or VOD; we would watch the same films repeatedly on VHS, renting them from the local video store.

That’s where my passion for filmmaking started—trying to emulate those movies as a kid. It just grew from there. By the time I was 12, I started making short films, and at 20, I was hired by a Scottish production company. From the age of 12 to now, I’ve been deeply involved in film, whether it’s videography, commercial work, or filmmaking in general.

How did Clear Focus Movies come to be?

I worked in the film industry for about ten years as an Avid editor, then trained in sound and camera. Watching various crews and filmmakers who were lucky enough to get the opportunity to create made me realize that I needed to take a chance on my own films. Before I got that job, I had already made a lot of short films, but once you start working professionally, you’re getting paid to work on other people’s projects, and your own work often gets pushed aside.

It wasn’t until I met my future wife that things changed. She saw how much I was struggling to balance my passion for filmmaking with my job, trying to make short films on weekends. She encouraged me to take the risk, start our own company, and see if we could break into independent filmmaking—moving away from shorts and into features, where there’s a real opportunity to make a living if you know what you’re doing.

What has been the most significant milestone in your career so far?

The most significant milestone for us was definitely The Redwood Massacre in 2014. It was our second feature film—an ultra-low-budget horror movie that managed to secure worldwide distribution
We decided to take a huge risk and self-fund The Redwood Massacre outright ourself with our own money.

By that point, we had experienced firsthand just how cutthroat film distribution and sales agents could be, particularly in how contracts are often structured to take advantage of first-time filmmakers. That experience was invaluable, as it taught us the ins and outs of the industry.

The film cost £35k to make, and while it seemed like a reckless gamble at the time, it was actually a very calculated move. We specifically chose the horror genre—not just because we loved it, but because there was already a dedicated audience for slasher films. Horror was trending in the market, and we were also in the middle of a key transition period, where advancements in digital camera technology made filmmaking more accessible. We hit the market at just the right time.

The film went on to become a low-budget sleeper hit and made the distributor a lot of money. That was a pivotal moment for us. Once you prove you can make money for someone, doors start to open. That success gave us the credibility we needed to secure investment for future projects. The Redwood Massacre isn’t our best film by any means, but it was the one that pushed those doors open and propelled us into the world of independent filmmaking.

When you compare The Redwood Massacre to our latest film, Primal Games, which comes out in May, you can really see the progression—not just in quality, but in how we approach filmmaking. It all goes back to that one film. It gave us the confidence to keep going, and it gave investors the confidence to back us. Since then, we’ve made about six more films, but in independent cinema, you’re only ever as good as how much money your last film made. That’s just the reality of this industry.

Where do you find inspiration for your films?

The inspiration behind my films is actually quite simple, though maybe not the answer most aspiring filmmakers want to hear. We learned early on that filmmaking is just one part of the overall business—it’s a business, first and foremost, and about making money. Once you understand that, you realize the creative side is actually a smaller piece of the puzzle at the level I’m working at.

We tailor our films to market trends, focusing on what distributors are buying. What genres are selling? Paranormal? Action? Horror? Which has the best chance of finding a broad audience and recouping investment? In a way, it puts you in a creative box when writing, because everything must be considered through that lens. It can be frustrating at times, but for independent films—especially those in the $250,000 budget range—it’s the only way to get them made.

Do you have any favorite filmmakers or films that have influenced your work?

I love all the classic genre filmmakers—John Carpenter, Sam Raimi, Paul Verhoeven, Peter Hyams, Steven Spielberg, Michael Bay. Some people might look down on these names, but you can’t deny their films have stood the test of time. They’ve been hugely inspirational to me.

When I was younger, I didn’t just watch films—I studied them. At a certain point, I stopped just enjoying the story and started analyzing how they were made. I paid attention to lens choices, camera angles, and shot composition. That knowledge gave me a head start when I finally got access to filmmaking tools. Even now, when I make a movie, I revisit those old films and filmmakers for reference.

I think genre films from the late ’80s and early ’90s—movies like RoboCop, Predator, The Running Man, Universal Soldier—were incredibly well made. They’re often dismissed, but they serve as a blueprint for great filmmaking. A lot of the feedback I get on my films is that they look great, even from people who may not love the film itself. That’s because I try to shoot them like they did back in the ’80s and ’90s—big lenses, shallow depth of field, big close up’s. Sadly, a lot of that has been lost over time as filmmaking has shifted to wider, flatter compositions for television.

How do you approach writing and developing a script?

Understanding the business side of film is crucial. I’m not making Hollywood studio movies—our budgets and schedules are extremely tight. When writing a script, I have to consider every logistical challenge: Can I shoot this scene here? How long will it take to move the crew two miles down the road? Do we have access to toilets? These are real concerns in low-budget filmmaking.

Unlike big-budget studio films, where the only limitation is imagination, independent filmmakers have to work within strict boundaries. I can write a scene where a guy crashes through a wall, but in reality, we can’t afford to build a breakaway set, and our actors aren’t going through concrete. Everything has to be meticulously planned.

Making independent films is a relentless grind. We shoot in 18 days, with no room for error. Hollywood films can take 50 – 100 days to shoot—we do it in a fraction of that time. Moving into action filmmaking has added another layer of complexity, but we’ve managed to make it work.

Independent filmmaking is a pressure cooker, but the key is maximizing time and making the most of every camera set-up & location.

Which of your films are you most proud of and why?

I worked with Danielle Harris from the Halloween series (Halloween 4, Hatchet, Daylight). That film may not be my best or most well-received, but at the time, each project felt like progress. We were pulling in known actors, working with bigger budgets, and it really seemed like we were moving up the industry ladder.

Unfortunately, just as we were on the verge of bigger opportunities—including a major horror film within Universal Studios—COVID hit and derailed everything. In a way, it forced us to pivot. Losing those big projects led us to transition into action films, which turned out to be a great move. We’ve now completed our second action film, and the genre seems to suit us well. It’s working for our distributors, so it looks like action is where we’ll stay for the foreseeable future.

What advice would you give to new filmmakers working on their first feature?

For first-time filmmakers, my biggest advice is to get comfortable with the process. Many of the problems you’ll encounter on a feature can be worked out while making short films. I made countless shorts—some finished, some abandoned—and each one was a learning experience.

The jump from short films to a feature is massive—it’s a different beast entirely. Looking back, I thought I was ready for my first feature, but in hindsight, maybe I wasn’t. Still, those early experiences helped me navigate the challenges of making full-length films. You won’t get everything right on your first attempt, but that’s part of the journey.

What is the vision behind Clear Focus Movies and whats the plans for the rest of 2025?

The vision for Clear Focus Movies is to continue growing within independent cinema. Right now, we’re happy in the action genre. The market is oversaturated with horror and paranormal films, making them harder to sell, whereas fewer people are making low-budget action films on tight schedules and limited budgets. That gives us an edge in distribution.

We have a busy year ahead—while we’re focused on action, we’re also doing a low-budget horror film soon, followed by a much bigger project at the end of the year. We’re experimenting with different approaches to financing, production, and distribution to see where we fit best in the larger independent film landscape.

Check them out below:-

Clear Focus Website – https://www.clearfocus-productions.co.uk
Clear Focus Facebook – https://www.facebook.com/ClearFocusMovies
Clear Focus Instagram – https://www.instagram.com/clearfocusmovies/?hl=en-gb
Clear Focus X = https://x.com/EvilAvidEditor
Clear Focus YouTube – https://www.youtube.com/@ClearFocusMovies

Regards

Alex`