Inside "Flicker": Cast & Creatives on the World of Blackwell directed by Charlie Perez
Before we begin, I’d love to briefly introduce Flicker and the people who brought this world to life. Flicker is a character-driven sci-fi story set against the mysterious world of Blackwell, exploring freedom, control, trauma and human connection. Today, I’m joined by members of the cast and creative team to talk about their characters, their experience making the film, and the larger world behind the story.
Today we have with us Darcy Fagundes, who plays Ava; Rachel Cribbs, who plays Bo; Ady Perez, who plays Lana; and Macie Silveira, who plays Nia, along with producer Danielle Cortez and composer Philippe Gerber.
Thank you all for being here! Before we dive into the individual characters, I’d love to start by talking a little about Flicker and the world you created together.
Before we get into the individual characters, I’d love to start with the world of Flicker. There’s clearly much more happening around Blackwell than what the audience is immediately told. When you first read the script, what was the element of this world that made you want to be part of the film?
Darcy: Honestly I didn’t even care. I had full trust and thought it was just so cool to be a part of something with amazing people laughing and making memories for a lifetime.
I’d also love to hear how each of you became involved in Flicker. What was the casting process like, and what initially drew you to your character?
Darcy:
It went like this:
Charlie- “Darcy, I’m really thinking about making a movie, do you want to be a part of it?”
Darcy- “I’m down”
Charlie- with a shit eating grin on his face “okay you’re going to be the main character.”
Darcy- oh shit “f**k it ok let’s do it”
And we did it!
Danielle:
When the story started to come together and Charlie kind of broke down how he was imagining these amazing sci-fi scenes and chase scenes , I was extremely excited to jump in. It truly just felt it would be so fun to help create and bring to life.
Rachel:
I have been working on shows and films with Charles for over 10 years and he approached me with the idea. I read the script and fell in love with Bo because of her complexity and dimensions. She doesn’t give anything away easily, so I really had to dig into her for her to give up anything. She is surprisingly deep and complex. I wanted to explore the other sides of her rather than the flat villain character. What I love most about villains is most of the time they believe what they are doing is right. I think she disagrees with Blackwell’s methods and belief system, but it is what Bo knows and understands how to survive. She sees it as the lesser of the two evils.
Ava is obviously incredibly strong, but what I found interesting is that the film allows us to see the damage underneath that strength without constantly explaining it. How did you approach that balance between survival instinct and vulnerability?
Darcy:
I think this can be extremely relatable to anybody that has endured any kind of physical, emotional or psychological trauma in real life. As a creative, I try to channel those things into something beautiful or in a way that can help someone else. Being as this is how I approach daily life, it was a relatively simple concept for me to put myself in Ava’s shoes.
The conversation with Nia is one of the moments where Ava finally tells us much more about her childhood, how she was taken to Blackwell and what happened to her there. At the same time, she becomes very protective of Nia. What was it like playing a scene where Ava reveals so much of her trauma while also trying to protect someone else from it?
Darcy:
I suppose I kind of answered this in my first question without realizing but yeah it’s very similar because I find it easier to be understood when you’re more open about who you are and what you’ve gone through to get where you are today. I also think it can bring both yourself and the person you’re choosing to share with a sense of comfort, trust and connection. Ava and Mya really cared about each other so Ava wanted to strengthen that while also protecting her. A true act of love.
Ava reveals some incredibly painful things about her past, but she often talks about them with a certain level of control. How did you approach showing the weight of that trauma without always expressing it outwardly?
Darcy:
Ava seemed to always have really organized her thoughts and delivered them eloquently. I believe that the balance of acceptance, vulnerability, and strength are what drove the delivery of her heavy past.
Macie, Nia and Ava connect over feeling controlled and misunderstood, and Ava encourages her to believe that she can choose her own life. What do you think Nia sees in Ava that allows her to trust her so quickly?
Macie:
I think Nia sees more of an opportunity through Ava. Almost like she wants to live the life she thinks Ava is living and wants to trust her because anything is better than staying with her parents. Could also be going purely off of vibes.
Nia spends so much of the story wanting somewhere to belong, while also being deeply suspicious of anyone offering her safety. How did you approach that contradiction between her need for connection and her instinct to protect herself?
Macie:
Honestly, I was just kind of winging it until things felt right, but also I think it came naturally because everyone's been in an apprehensive situation like that before, so I just tried to remember what that felt like and portray it as best as I could.
In the final scene, Nia is already inside this new environment and wearing the same uniform as the other kids when Dr. Edwards tells them that they are not weapons, but "the future." After everything Nia has said about wanting to be free from people defining or using her, how did you interpret her being placed in a system that is now trying to give her another identity and purpose?
Macie:
Well, It made me angry for her. Clearly these people don't want what's best for those kids, they just want to feel powerful and good about themselves. Which is basically the same thing as her parents. So for her to run away from her family because she felt trapped and controlled, and then to go to a place that does the same exact thing is infuriating.
One thing I really enjoyed is that Flicker leaves the audience with questions rather than explaining everything. Was there anything about your own character or the story that you deliberately decided not to answer for yourself?
Darcy:
I think it was important to me for the viewers to know that Ava started and stayed solid and didn’t have a change of heart or let her experience harden her. Instead, it motivated her to keep pushing on her path.
Macie:
No, I put full trust into Charlie and his filmmaking and just went along with whatever he wanted me to do.
Without giving away too much, the ending introduces the idea that there are more children and potentially something much larger happening around Blackwell. When you reached that ending in the script for the first time, what did you think it meant for this world?
Darcy:
For me, it showed that the world was bigger than what we’re showing and that it seemed like only a speck of insight as to what was really the bigger picture.
Macie:
I think it means that there is going to be a lot more chaos and trauma for these kids. I'm actually very concerned about what is going to happen next but I'm also the most excited.
The film contains some very big action and dystopian moments, but sometimes the smallest details tell us the most about these characters. Is there a subtle moment or detail in Flicker that you personally love and think audiences might miss the first time?
Darcy:
I don’t think it was subtle, I think it was very clear that the kids just wanted a “normal” life but for me it’s the moments with smiles and laughter. They were genuine in the film and they were genuine while filming. I would implore the audience to watch again knowing that these kids are all connected outside of filming flicker and have relationships where they share laughter, jokes, and memories. They really enhance the authenticity of those moments in the film.
Macie:
I feel like a lot of emotion in this movie is portrayed with body language that people might not pick up on right away. On the surface, you're just thinking about what they're saying and what their faces look like and not how their body shifts slightly or they cock their head to the side a bit.
If Flicker continued and you could explore one part of this world that the film only gives us a glimpse of, what would you personally want to see next?
Darcy:
I would love to see the full extent of what all the love and persistence can do for all of the characters and to see if any of them have a change of heart at any point.
Rachel:
I’d love to see the story continue and delve deeper into Bo’s backstory and the backstory and experience of all the Blackwell experiments. What makes them stay? What makes them leave? I think the audience would appreciate seeing more into the process Ava was running from so they can better understand the stakes.
Macie:
I would love to see more character crossovers and maybe even see how Ava and Bo's
Danielle:
If we were to continue the story, I’d like to see Bo and Ava take down Blackwell and the emotional journey Bo goes through as she finds the freedom and liberation. Lots of opportunities for action and emotional choices.
When Bo finally catches up with Ava, their conversation tells us a lot about their history without explaining everything. You can tell that, despite everything that has happened, Bo still cares about Ava. How did you approach that relationship and everything that remains unspoken between them?
Rachel: I approach the relationship with Ava as one that is finally real and human. Based on real feelings and trust. Bo has never had anyone tell her the truth or show her real feelings. Ava is vulnerable and comfortable with showing who she is. She breaks Bo out of her shell and her hard protective exterior. Ava is the first person to see Bo as a complete person and want nothing from her. Bo is used to being a tool for others and has shut herself off from feeling anything.
Bo is described as one of the strongest fighters at Blackwell, but what I found interesting is that her encounter with Ava ultimately becomes much more emotional than physical. What did you want us to understand about Bo in that moment?
Rachel: Bo is physically strong but emotionally stunted. Ava gives her a safe soft place to land, whereas Bo’s life is continuous chaos and control. Bo is confused at her ability to believe in and trust Ava but she goes with it because Ava has never shown her a false identity.
Bo is hurt that Ava rejects Blackwell and their life because Ava does it on her own and doesn’t take Bo with her.
Bo has been sent after Ava, but their history makes the situation much more complicated than simply completing a mission. How did you approach that conflict between what Bo is supposed to do and what she actually feels?
Rachel: Bo wishes she could do what Ava has the courage to do but Bo knows nothing else and is too frightened to take the drastic step that Ava does. Bo is after Ava for a number of reasons, the least of which is to bring her back and complete her mission. The outside world is dangerous and Bo is afraid for Ava and wants to bring her back for safety because as long as Bo and Ava are together even in the worst situation and environment, at least she knows they can protect each other. Bo respects and loves Ava as an actual person and fears for her.
Blackwell feels much larger than what we actually see on screen, and I liked that the film doesn’t explain every piece of its mythology. From a producing and storytelling perspective, how did you decide how much information to give the audience and how much to deliberately hold back?
Danielle:
I think it’s always interesting to kind of keep such a big presence and character kind of mysterious. I think it lets your imagination be part of the movie watching experience.
Flicker has action, stunt work, science fiction, outdoor scenes and dystopian elements, but there’s also a very character driven story underneath all of that. What was the biggest challenge in keeping those elements balanced?
Danielle:
I mean action is always totally fun to watch! It keeps you excited for what’s gonna happen next but I think the heart of any film is the characters and the story they are trying to tell. When you mix both together, it just adds so much depth. You have someone/something to root for.
There are several moments that suggest this world extends far beyond the immediate story we’re watching. Was it important from the beginning to make Flicker feel like we’re only seeing one part of something much bigger?
Danielle:
Yeah, absolutely. My favorite part of this film was the end credits scene. You instantly want more story! What’s gonna happen to these kids? Can they escape like Ava did? Will Ava know Nia is gone? What’s gonna happen with Ava and Bo? Why did Z help Lana escape!? So many questions!
Philippe, the music really helps establish the dystopian atmosphere without making every moment feel the same. Did you think about Blackwell as having its own musical identity, almost as if the institution itself were another character?
Philippe:
I thought of Blackwell almost as another character in the film. I wanted the music to give the institution its own presence and identity—something that feels cold, controlled and slightly unsettling, even when nothing particularly dramatic is happening.
At the same time, I didn’t want to create one single theme that would simply announce, “This is Blackwell.” I was more interested in creating a musical language around it. Certain textures, sounds and harmonic ideas return throughout the score, sometimes very subtly. As the story develops, those elements can become more aggressive or more emotional depending on what the characters are experiencing.
For me, Blackwell represents control and isolation, so I wanted the sound of the institution to feel almost inescapable. Even in quieter moments, you can sometimes feel that presence underneath the scene.
The score has to move between action, tension and much deeper and emotional moments. How did you decide when the music should drive a scene and when it needed to pull back and let the performances take over?
Philippe:
That was probably one of the biggest balancing acts in the score. I didn't want the music to tell the audience what to feel every second. Sometimes the most powerful thing you can do as a composer is to step back and let the actors carry the scene.
When the story needed momentum, tension or a sense of danger, I allowed the score to become more prominent and almost take control of the scene. In those moments, rhythm, texture and sound could push the action forward and make the audience feel that something was closing in.
But the emotional scenes were different. I tried to leave space for the performances and only bring the music forward when it could add something that wasn't already there. Sometimes that meant using just a very small musical element rather than a full cue.
I think the score works best when you don't necessarily notice it consciously, but you feel that it is changing the way you experience the scene. For me, knowing when not to play is just as important as knowing what to play.
Was there one character, relationship or sequence that was particularly difficult to find the right musical language for?
Philippe:
I think the most difficult moments were the ones where the emotional reality of the characters was more complicated than what was happening on the surface (Ava for instance). Those scenes required me to be very careful not to impose an emotion on the audience. There were sequences where I tried several different musical approaches before finding the right one. Sometimes I initially wanted the music to be more present, but I realized that the scene became much stronger when I stripped things back and allowed the tension between the characters to speak for itself. That was especially important with the relationships in the film. I wanted the music to reflect what the characters couldn't necessarily say out loud (their fear, uncertainty, isolation, or connection) without explaining those emotions too literally.
In the end, I found that the most effective musical language was often a combination of restraint and subtle recurring elements. A texture or harmonic idea that might feel almost insignificant in one scene could take on a completely different emotional meaning later in the film.
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