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Atlantis Artist Spotlight
Owen Myre
Best Student Film - Honorable Mention
'4TEEN'
Some forms of recognition only appear when the work compels it.
Honorable Mentions at the Atlantis Awards are exceptionally rare, reserved for moments when a project is narrowly edged out in final deliberations, yet the jury feels that withholding recognition would do a greater disservice than acknowledging the work. 4teen was one of those moments.
What distinguished the project was not only its ambition, but the seriousness with which it was undertaken. Conceived, written, directed, and performed by teenagers, 4teen is a first feature that approaches adolescence without sensationalism or irony — instead choosing restraint, honesty, and lived experience. At its center is a simple but uncommon commitment: to treat young collaborators with respect, responsibility, and care.
During the pandemic, when opportunities to act and create abruptly vanished, Owen Myre chose to make the work himself. At just fourteen years old, he began writing 4teen and later raised nearly $3,000 to ensure that every actor and crew member received a stipend for their time. That decision — to fundraise rather than ask peers to work for free — resonated strongly with the jury. It reflects a filmmaker thinking not only about authorship, but about ethics, leadership, and what it means to build trust on set.
The film was cast through open auditions, shot over multiple years, and completed despite significant interruptions and personal hardship. Nearly everyone involved — from cast to crew — was under the age of twenty. That scale, and the persistence required to see the project through, speaks to a level of commitment that goes well beyond novelty.
While 4teen did not receive a formal award, the jury felt it was too meaningful to pass without recognition. This spotlight exists to honor the work as it stands — imperfect, earnest, and driven by principle — and to acknowledge a filmmaker whose approach sets a precedent worth calling attention to.
What follows is a conversation about process, responsibility, and growth — and a first feature made not for attention, but because it needed to exist.
Background & Origins
For those encountering your work for the first time, how would you describe yourself as a storyteller — and how that identity has evolved over the life of 4teen?
At the beginning, I was just coming off my first big film, Psycho Goreman, and then the pandemic hit. PG lost its theatrical debut, SXSW, and other opportunities. Everyone was pretty bummed out, and I was too. I also felt like it could be a long time before I’d be able to act on camera again — I didn’t know how long.
I had to do something. So I downloaded a screenwriting program and started 4teen. I had played with this story a bit before, but I didn’t feel ready to write a feature yet. I’ll be honest — I had some idea of the story arc, but it really evolved as I was writing. I wanted it to be as true to life as possible.
How old were you when 4teen first began, and what initially compelled you to take on a feature-length project at that stage of your life?
As I mentioned, I felt like I had to act or create something, and this was the best idea I had. I was 14 when the writing started. Later that year, I ran a Kickstarter to be able to pay actors and crew something. I raised about $3,000 and put in some of my own money as well. At that point, I was fully committed.
I advertised on Backstage and personally auditioned and cast every role, which was definitely challenging. Filming began in early 2021 and continued through that year. We had almost everything filmed within about a year and a half.
During that time, my dad — who was a professor — was diagnosed with Parkinson’s and Lewy body dementia, which hit our family very hard. For a while, I couldn’t even think about returning to the film. Things at home weren’t the same.
Eventually, I began editing in chunks with Daniel Groom and slowly adding music. There were big gaps, mostly because it was hard to get together. I wish we could have finished the film faster. We released a trailer in 2022, which won some awards, but we didn’t complete the full film until 2024. Seeing it finished was one of the happiest days of my life.
4teen was developed over multiple years, through interruptions and restarts. What kept you committed to seeing it through to completion?
Honestly, I had to finish it for the actors. Some had worked with me before; others were new and trying to get into the industry. There were also donations and support from people around town — including businesses that let us use locations, like the convenience store. I couldn’t let them down.
Process, Scale & Collaboration
Approximately how many cast and crew members were involved, and what did that teach you about collaboration?
There were three main leads plus myself, six supporting actors, and about five actors in smaller roles. We mostly stuck to the script, though some moments were ad-libbed. The actors were incredibly serious about the work and did an amazing job — the boys truly embodied the characters I wrote for them.
We had a skeleton crew of three people plus myself. Not a single person backed out or failed to show up, and somehow the weather was always on our side. Everyone who signed on followed through and appears in the credits.
What it taught me is that every person on set is equally important. I tried to direct the project that way. Each role mattered, no matter how big or small. I really believe that if you respect everyone, have fun, and show appreciation, you create a great collaboration.
How did you think about fairness and leadership with a predominantly young cast and crew?
This mattered a lot to me. I had done many unpaid roles to work my way up, and I know how hard it is to give your time and get nothing in return. I paid people in tiers, and everyone understood that there wasn’t much to go around. The money also helped cover food and some equipment.
Everyone appreciated being paid something, and that was important to me. We had a lot of fun and became very close over the course of the project.
Did you have mentors or advisors during production?
Daniel Groom was the first director I ever worked for, both on a short film and a feature, and we spent a lot of time together. I asked him to be the lead cinematographer and also to help guide me if I was going in the wrong direction — and he absolutely did.
We had to make the film work without all the coverage or angles I would have loved, but the actors were so strong that we captured everything we truly needed.
Who else helped guide the project forward?
My mom did — in every possible way. She was script supervisor, handled water and food, and helped keep everything on track. She worked incredibly hard to make sure the actors were taken care of and comfortable.
Storytelling Choices
4teen approaches adolescence with restraint. How conscious was that tonal choice?
I’m a big fan of Clerks and Trailer Park Boys, and I felt that to really understand the minds of young people today — and what causes them stress — the film needed to be raw and natural.
We originally considered including the pandemic and masks, but I felt it would distract from the story and complicate things. While the pandemic affected us, it didn’t impact teens in the same way it affected adults. We were really showing a slice of life from just before that period.
Many of the growing pains in the film came from my own experiences and those of my friends. I wanted it to feel real — to connect with people our age, but also to show older generations who we are.
As both a peer and director, how did you navigate telling this story?
At the beginning, it was really hard. I struggled with communicating exactly what I wanted. I treated the actors with respect and asked for their input. Bringing them into the process made a huge difference — it felt like we were all in it together.
Were there moments that surprised you emotionally?
The entire shoot in New Hampshire with Aunt Ellie was the most meaningful and unforgettable part of the film. She’s an incredible actress, and her gentle presence with Jack really worked. It helped me — and the character — slowly realize the beauty of nature, life, and the possibility of happiness.
It all felt incredibly real while we were filming, and I loved every moment we spent there.
Reflection & Growth
What did making a feature teach you that no short film could have?
So much. Being on the other side of the process made me see films completely differently. The scale can be overwhelming, and there are moments where it feels like you’ll never finish.
There are things I wish I had done differently, but I’ve learned an incredible amount that I’ll carry into the next project.
How has festival reception affected you?
I’ve been shocked by the response. We’ve received close to 20 wins, not including semifinalist and honorable mentions. The most meaningful awards were when Nate won Best Actor and when our four boys received Best Ensemble. That meant everything to me.
I’ve also received many heartfelt letters from viewers, which I never expected. Knowing the film connected with people has been incredibly rewarding.
Looking Forward
What draws you to your next projects?
I try to approach each film as a fresh slate. I don’t feel pressure to “top” 4teen. I actually have a strong idea I may start working on this year — so I’ll keep you posted.
Is anything especially meaningful now, looking back?
We struggled a lot with lighting and sound due to limited equipment. Some of the ways we had to jury-rig solutions were pretty wild. Seeing those moments on screen — and realizing they worked better than I expected — is incredibly meaningful to me.
Visibility & Connection
Where can audiences follow your work?
All of my work since I was 11 is on IMDb. I’d also like to shout out some shorts I’m proud of: They Don’t Know, Alienated, and Kinetic, along with the features Psycho Goreman and Alternate Ground.
I’m not a child actor anymore, and I’m extremely hungry for a breakout role. People can follow me on Instagram at @OwenMyre_official.