The ODIE Interviews: Michelle Ragay, First AD

This is Michelle Ragay. On ODIE, she ran the set. Every minute of all seventeen shoot days moved through her: the schedule, the safety meetings, the call of “quiet on set.” She came to filmmaking from Air Force language and intelligence work, and she directs her own films. We asked; she answered. Lightly edited for length, not for honesty.

You came up through Air Force language and intelligence work. What does that training look like on a film set?

Coming from an Air Force language and intelligence background, I am of the belief that schedule is king. This translates perfectly into assistant directing work on a film set. In the military, I worked on a 24 hour schedule where every minute matters. In filmmaking, every minute equals a bit of budget and data, so my job is to make sure we make those minutes count. My time in the service also taught me the importance of teamwork. As many of us know in the film industry, it's nearly impossible to work alone. I've learned that we all work better when we are working in harmony. Along with safety, keeping a positive attitude on set is my top priority. Positivity, as well as negativity, spreads fast. I'd prefer a set full of smiles and laughter.

Seventy-seven scenes, sixteen locations, fifteen planned days. Where do you even start?

The first thing to do is to pray to the set gods (haha). But really, whenever something feels a bit ambitious I remember that filmmaking is just that! To create an entire world from a few words written on a piece of paper is magic. It's not meant to be easy, and I also remember that I am not the first to do something difficult and I won't be the last. Like a screenplay, I like my schedule to tell a story as well. We started the first day with a scene overlooking the Austin skyline, followed by shots in the Barton Springs and Zilker Park area. This sets the tone and connects us with the story's setting. Though there were a lot of locations, the variety of it all kept it interesting, making every week feel like a brand new shoot. Friday nights were our night shoots, giving us the weekend to recover and feel fresh again.

No indie schedule survives contact with reality. How do you replan mid-shoot without the set feeling the turbulence?

Like a pilot letting the passengers know about upcoming turbulence, I also remain transparent with the crew. Hard times feel easier when you know you are not alone. When it sucks, it sucks. I don't like to pretend otherwise, but again, it's all about remaining positive and optimistic while we problem solve. On Odie, there were some days we had to pivot due to location issues, but I am so grateful for such a flexible and efficient crew that flipping to alternative plans felt easier than it could have. Working with Nick was awesome. He also likes to think ahead, so we both made sure we had plan Bs ready in the likely case things would change.

The biggest day on the board was nearly ten pages of clinic interiors. How do you prep a crew for a day like that?

Again, transparency is key. I made sure the cast and crew knew we had a lot to cover during that day. This day came after shoot days with multiple company moves and more complicated indoor lighting setups. I strategically scheduled it at a time where I knew the gang was all warmed up for an ambitious, page-heavy day. They came in ready! I am so proud of what we were able to accomplish on that day.

You're also a director. Does the director's eye make you a better AD or just a more opinionated one?

I am at a point in my filmmaking journey where AD Michelle and Director Michelle are separate. My experience in one definitely helps the other, but when it comes to set, I try to keep my energy in one version of myself. AD Michelle shouldn't become another director on set. I try my best to be the AD I would want as a director. That means being an AD who manages the crew and knows each of them well, can recite the schedule like the ABCs, and has solutions in hand when things get tough.

What's the call you made on this shoot you're proudest of?

I am most proud of the decisions I made regarding the heat. Working in Texas weather is no joke, and nobody likes to work hot and cranky. During our safety meetings, I emphasized the importance of staying hydrated, applying sunscreen and taking AC breaks when needed. Everyone staying safe and healthy is a no-bargain.

For readers who've never stood on a set: what does a 1st AD actually do?

The 1st AD makes and manages the production schedule. On set, I am keeping track of time and managing the set, making sure the cast and crew are doing what they are supposed to to keep us on said schedule. I am also the safety manager, briefing everyone at the start of each day on what we are required to do (or not do) to stay safe while working. I coordinate with everyone to ensure we are all aware of what we are doing each day. I call “quiet on set” and “roll sound and camera.” I pretty much handle all on-set logistics so that the director can focus on all creative decisions.

ODIE shot across Austin in the summer of 2026 and is now in post-production, headed for the 2027 festival circuit. More conversations from the cast and crew are coming.