Making Masterpiece with Filmmaker Rick Walker 

Rick Walker is an energetic storyteller. As a longtime disc jockey on KATT radio, Rick uses his voice to convey vivid images, but his favorite form of storytelling involves real-life visuals from filming people in interesting situations. Rick–Producer, Writer, and Director of State 46 Films–attributes his filmmaking career to an over-active imagination. He has written 31 screenplays and has produced nine movies, two upcoming documentary series, and thousands of commercials and music videos. 

Rick filmed his first short film in downtown Edmond back in 1998. This July, he returned to produce his tenth movie, the award-winning screenplay named Masterpiece for Amazon Prime. The plot is a crime thriller, in which a police detective hunts for a serial killer after local piano players go missing. 

The crew spent three days filming at Mitchell Hall, the police station, and a house on Fretz Avenue. Walker invited reporters to observe his team in action. 

July 2, 1:30 PM, Edmond Police Department

“Hi Amy,” Rick says. “You’re with the press? We’ll talk between scenes. Right now, we’re headed to the jail cell to film an interrogation.” 

The confined jail corridor is lined with people, mostly Edmond police officers who have volunteered to play as extras in the film. The film crew walks around with oddly-shaped cameras. Two actors sit in the interrogation room. People casually chat and await instructions.

Rick bounds onto the scene with enthusiasm, weaving through the crowd, greeting people by name, and making jokes. He brings energy to the room. Much like a conductor, his hands move as he points out the path for actors and cameras to follow.

“I’ve worked with the key people on my team for years. We trust each other. They are used to me and my movement,” he tells me. 

“Is everyone ready to get started on this scene? Great! Action.”

July 2, 5:30PM, Conference Room

Rick and I are standing in the back of the room while the podium and flags are moved into position. 

“We’re about to film the press conference where more pianists are declared missing,” he says. “Jennifer, your job is to introduce the mayor to the press. Remember, this is a stressful scene. London, whip the camera from face to face.” 

Lowering his voice, he tells me, “The hardest part is helping the cast and crew visualize what I see in my head.” 

Filming begins again. Rick sits, intently watching two screens that show what the camera is filming. Jennifer introduces the mayor. The mayor turns the floor over to Officer Emily for questions. Rick follows the camera’s movements with his hands, trying to guide the scene from his chair—he knows exactly where he wants the camera to go.

“No,” he says to himself. “Cut! That’s not quite right. Whip the camera more. Dart back and forth. Emily, say your line again. Okay, once more. Action!”

After the next take, he asks for a replay on the screen. “Yes,” he mutters. “Nice Job!” he says out loud. “Now switch camera angles to film the reaction of the press.” 

While the room is flipped, he shares more about his creative process. “Scriptwriting happens in my head, so I schedule time on my calendar just to think.” He chuckles. “So, here’s my Secret Pro Tip: I know the ending. Once that’s decided, I go back and find the path to get the story there.” 

We return to the press scene, where a row of extras in business clothing are learning their lines. They each have a question to blurt out to the police officer. This scene only takes 15 minutes to film. 

“That’s a wrap! Great stuff, everyone. See you tomorrow night.” 

While the crew breaks down camera equipment, Rick shares his reason for selecting Edmond for this movie. “Edmond has vast diversity for a filmmaker. There are sketchy dark places and classy beautiful places. About 80% of American settings can be filmed right here. Obviously not oceans or a skyscraper city, but Edmond has fields, farms, businesses, parks, commercial properties, and houses from all eras. Being able to film so many locations in close proximity is invaluable because getting in a car and driving crew and equipment to another place costs hours.” 

July 3, 9:30PM, House of the Crime Scene

The crew and extras arrive at 8:00PM to begin set-up, practice, and wait for nightfall. People are still ambling around, practicing their roles. A tall light is erected to cast a moonlit glow over the house. The murder victim is lying in the house. Hannah, the hair and makeup technician, has painted the actress with splattered blood and blue-tinged lips. Officers and emergency crew are stationed outside. Teen extras are positioned to watch the scene from a fence line. 

This scene has no dialogue—it’s only a visual walkthrough of the crime scene. The camera first shows the victim lying in the house, then moves onto the porch, where an officer is putting up caution tape. The camera then pans to the ambulance before returning to the porch in time to see a gurney exiting the house. This scene has no breaks—so the entire segment has to perfectly align with Rick’s vision. 

Chad, the producer, calls out instructions. “When I say ‘Return to ONE,’ that means return to the position where you first start moving.” Rick makes a few adjustments and reminds the “dead” actress to stare at one spot without blinking. 

Curious neighbors, out for late-night strolls, stop by to whisper questions. Drivers slow down to watch. During Take 3, a skunk ambles around the corner of the house. “Cut.” Everyone freezes, quietly waiting. The skunk sees the bright lights, turns around, and leaves. There’s a collective sigh of relief. 

By Take 8, minor adjustments have been made, but Rick has a timing dilemma. “The poor guy carrying the body camera rig has done this scene seven times now. It’s heavy. His muscles are so sore he can barely move. And the police extras report for work in four hours,” Rick says. “We’re supposed to break for lunch at midnight, but we just need a few more takes, and I think we can wrap for the night.” 

He visits with the crew and checks on the teenage extras. “Pollyann, Parker, you doing alright? Good. Okay everyone. We’re so close. Let’s really focus on this one.”

The set goes silent. Hopefully, this take will be perfect. Rick stares at the screen, hands directing the movement of the camera again. Everyone goes through their paces. Then, Rick shouts, “Cut!” He starts clapping. “It’s good! We’re done. Nice job, everybody. Enjoy lunch.” 

Still energetic after three days of filming, Rick shares his motivation for such a grueling schedule. “I get to observe other people’s reaction to the film and see if it resonates,” Rick says. “I love the creative process of putting together this big artistic jigsaw puzzle. Filmmaking is exactly what I want to do. It stirs me.” 

To learn more about Rick Walker’s upcoming productions, visit state46films.com.