Ezekiel N. Drews didn’t expect his first feature film to win 50 awards. He also didn’t expect that success to make funding the next project any easier.
“Happy Birthday,” the pandemic-era political thriller he wrote, directed, and produced through Lucid Films, Ltd. Co., collected accolades across festival circuits since its 2023 release. Critics praised the drone cinematography, the performances, and the script’s willingness to tackle post-apocalyptic despair without leaning on genre conventions. Amazon reviewers called it thought-provoking and moving. The film is available on Prime Video for rental or purchase.
But awards don’t pay for production. That reality shaped how Drews approached his next project.
He’s currently filming a 30-minute proof of concept for “The Deep State,” a prequel-slash-sequel to “Happy Birthday.” The segment serves a specific purpose: it demonstrates visual style, narrative scope, and production quality to potential investors who need more than a script and a pitch deck before committing capital to a full feature.
This approach has become standard practice in independent film. Studios and traditional financiers have largely retreated from mid-budget productions. Streaming platforms prioritize content they own outright or license through established production companies. That leaves independents with two options: self-finance and hope for distribution, or prove the concept first and raise funds for the full production.
Drews chose the latter. The 30-minute segment functions as a sales tool, a budget stress test, and a creative sandbox. If it works, it demonstrates that the full feature is viable. If it doesn’t, the cost of discovering that is contained.
“Happy Birthday” succeeded on festival circuits but faced the distribution challenge that plagues independent films. Festival awards generate visibility within the film community. They validate the work and open doors to screening opportunities. But they don’t automatically translate into revenue or wider audience reach. Drews found distribution through Prime Video, which gives the film a platform but requires active marketing to drive viewership.
The lesson shaped his approach to “The Deep State.” Rather than completing a full feature and then searching for distribution, he’s building investor confidence first. The proof of concept allows potential backers to see finished scenes, assess production value, and evaluate whether the project justifies the investment required for a full release.
Lucid Films operates as a lean production company. Drews handles multiple roles across writing, directing, acting, and producing. The company also offers commercial drone photography and video services, which serves two purposes: it generates revenue between film projects and provides technical capabilities that enhance the visual storytelling in their features. The aerial shots in “Happy Birthday” came from the same equipment and skill set that clients pay for in commercial work.
This dual revenue model addresses one of the persistent challenges in independent filmmaking. Production companies that rely solely on film projects face long gaps between paydays. Commercial services provide steady income and keep equipment and crew engaged between productions.
Beyond his work with Lucid Films, Drews founded the Milwaukee Independent Film Awards, which held its inaugural event in November 2024 and is preparing for its second season in December 2025. The festival focuses on promoting Wisconsin filmmakers while recognizing global cinema, operating under the motto “Every story’s spirit matters”.
The inaugural event drew more than 40 filmmakers and over 200 viewers across multiple venues, including screenings at the University of Wisconsin-Milwaukee and theaters in West Bend and Hartford. Drews co-founded the festival with Eric Leukert, a retired Army veteran who transitioned into acting and producing, bringing both technical expertise and an understanding of what independent filmmakers need to advance their careers.
The festival serves a practical function beyond recognition. It creates networking opportunities, connects filmmakers with potential collaborators, and provides a platform for work that might otherwise remain unseen outside of digital submission portals. For Wisconsin-based filmmakers, it offers something scarce: a local audience and industry presence.
Drews’ path reflects the reality of building a sustainable film career outside the studio system. Success requires multiple revenue streams, strategic production planning, and an understanding that recognition and revenue are separate challenges. The proof of concept model for “The Deep State” acknowledges that investors need evidence before writing checks.
Whether the strategy succeeds depends on execution. The 30-minute segment must be compelling enough to justify the full feature budget. It must demonstrate that the story has commercial potential beyond festival audiences. And it must convince investors that Lucid Films can deliver a finished product worth distributing.
Drews is building his case one frame at a time. For independent filmmakers watching, the model offers a blueprint: prove the concept, build the business, and find distribution before gambling everything on a single production.
For more information you can follow Drews on Instagram @lucidfilmsltdco & @milwaukeeindependentfilmawards and visit his website www.thedeepstatefilm.com & www.milwaukeeindependentfilmawards.com
