Joel Potrykus doesn’t want to overwhelm Sean Baker with incessant messages on his cellphone.

“I asked him if he would consider leading this Q&A. I made the mistake of including a financial incentive in the request,” Potrykus admits candidly. “Almost immediately, it felt strange. I should have never mentioned money at all. He always responds… I’m just going to let it go.” This awkward moment highlights the often unpredictable nature of creative collaborations and the complexities involved in communicating within the film industry.

It’s not particularly surprising that Potrykus and the director of “Anora,” Sean Baker, have maintained a connection over the years. Baker began his filmmaking journey slightly earlier, but both directors rose to prominence as significant figures in American indie cinema during the 2010s. They produced breakout hits like Baker’s rapidly-paced exploration of sex work, “Tangerine,” and Potrykus’ darkly comedic slasher, “Buzzard.” Both films are characterized by their unique, bold characters, intricate and twisty plots, and a deep commitment to portraying the gritty realities of their street-level environments.

Potrykus is back in the filmmaking saddle with his latest intriguingly titled film, “Vulcanizadora.” Now expanding its reach to Los Angeles at the Laemmle NoHo 7, this micro-budget feature marks a triumphant return for the director, who hasn’t released a film since the 2018 apocalypse comedy set in a living room, “Relaxer.” However, the passage of time — along with the responsibilities of parenthood — hasn’t softened Potrykus’ famously deadpan humor. Interestingly, his own child makes an appearance in the film, portraying the son of Potrykus’ character, a hapless father figure.

“Man, I’m not interested in making a film like ‘Sharkboy and Lavagirl’ or any of those movies that Robert Rodriguez creates. I don’t want to create a film for my child,” Potrykus expresses. “That’s a lot of effort for something cheesy that I wouldn’t feel proud of.” His commitment to authenticity is evident, as he prioritizes creating films that resonate with his artistic vision over commercial appeal.

Indeed, it would be ill-advised to show “Vulcanizadora” to elementary school children — not only due to its abrupt and shocking violence but also because of its pervasive, soul-crushing sense of unease. The first half of the film follows Potrykus’ co-protagonist and a frenemy, played by Joshua Burge, who is often a collaborator in Potrykus’ projects. They venture into the woods wearing peculiar metallic masks, armed with limited supplies of Gatorade and makeshift firecrackers. While hangout films typically aim for broad appeal, Potrykus weaves in moments of unflattering introspection as these characters confront their own flaws before their enigmatic mission concludes. The film’s disorienting second act, which finds them back in civilization, is even more harrowing and perfectly aligned with Potrykus’ talent for blending dark humor with profound existential dread.

“I’m currently in Michigan, so I’m never quite sure what people think of these films. The general consensus seems to be that I have a style focused on slackers, arrested development, and heavy metal music. It feels incredibly anti-punk-rock to continue making films that fit that mold. But that’s simply the type of films I create. So whatever, man,” Potrykus remarks. “This is one of the reasons I wasn’t keen on having a manager. They would often say, ‘Okay, we’re going to define your brand.’ Honestly, I didn’t even know what that term meant.” His reflections highlight the challenges of artistic identity in a commercial landscape.

Revisiting Derek: A Unique Opportunity to Bid Farewell to a Beloved Character

I genuinely cherish the character Derek, as I resonate with his experiences. I feel a sense of empathy when I see audiences laughing at him. It’s amusing to observe people finding humor in a character who remains blissfully unaware of their amusement; it’s not bullying in the traditional sense. I have a special fondness for Derek, particularly because he is oblivious to the laughter directed at him. As much as I might hate to admit it, I see parts of myself in him: a total motormouth dork. During filming, I often suggested, “Let’s just smash branches against the trees. These guys would love that!” Meaning, Derek’s whims are essentially a reflection of my own ideas. You’d be surprised at how creatively my collaborators can keep Derek’s story alive in the future; we’ll see what unfolds.

Derek’s Cultural References: A Window into His Character

I may not be a fan of Godsmack, but I acknowledge that their music was an unavoidable part of the rock radio landscape during a certain age. It’s the kind of music that Derek would undoubtedly love. Similarly, “The Fast and the Furious: Tokyo Drift” must be Derek’s favorite movie. While preparing for the shoot, I kept a stack of index cards in my back pocket, ready to pull one out and say, “Let’s ramble about the pile of fish in the woods that my friend once told me about.” For years, I’ve embodied the essence of Derek; I just am Derek.

Improvisation in Filmmaking: A Shift in Approach

Josh and I used to rehearse extensively because we were uncertain about what we were doing. At this stage, we share a nonverbal language that has developed over time. It’s similar with my director of photography. Our goal has always been to act like a band jamming together, creating a unique and organic flow during the filming process.

The Unique Bond of a Small Film Crew: Artistic Freedom

I find it difficult to comprehend how most people create films, especially those with crews of 100 or 200 individuals. What is that? At that point, it feels like you’re merely a foreman on a construction site. How can there be any emotion or artistry involved in that? I don’t understand. A band enters a studio with a long history of collaboration, having practiced and grown together. Yet, in film, it’s often, “Oh, hey, I’m the assistant sound person today.” “Hi, I’m the set decorator.” Now we have to go to dinner and get acquainted? “Where are you from?” It seems like artless nonsense to me. While I suppose it’s great for those who need that structure, it was never the reason I wanted to pursue filmmaking. It was always about a band mentality. If we make a profit, that’s just a bonus.

Balancing Production Value with Artistic Integrity: The Evolution of “Vulcanizadora”

I don’t feel that my films have significantly increased in scale. “The Alchemist Cookbook” marked my most substantial leap, as I transitioned from six people on set to around 26. That was challenging. Now, we aim to shoot on film and utilize better microphones, but my ambitions remain fairly modest. I feel a responsibility to anyone who invests in my projects, wanting to ensure I can deliver value. However, I’m also upfront with them that the chances of making a return are minimal. I have to pursue this vision. So if you’re okay with me not making any compromises, then we have a great opportunity. It’s a risk, but these films continue to be made on very low budgets.

Finding Inspiration from Influential Filmmakers: Gus Van Sant’s Impact

Every few years, I find myself diving deep into the works of Gus Van Sant. Recently, I revisited “Gerry” and realized I had somewhat forgotten its impact. It ends at a juncture where I felt it was about to become truly intriguing. I thought to myself, “These characters seem to be headed out on a mission. Maybe I should write that film instead.” That’s the essence of what this movie represents.

Transforming Inspiration into Original Creations

It’s not often that I find inspiration in this manner. However, with this particular film, I thought, “I could pull this off, and it could be quite impressive.” This realization often leads to the development of new and exciting projects.

Teaching Filmmaking: A Journey of Learning with Students

I somewhat hesitate to let my students watch some of my films; I feel they come with trigger warnings. They were the first to encourage me: “Joel, your films don’t have to focus solely on male characters.” Consequently, when I create a short film with them every summer, it always centers on female perspectives. I also realized that I struggle to relate to my fellow professors; my connection is stronger with the students. I recognized, “Oh, I’m just immature.” That’s the only way I know how to write my characters. There’s a reason there’s little to no romance in my films; it makes me feel embarrassed.

Imagining a Different Kind of Character: The Challenge of Conventional Roles

I’ve attempted to write a character who is a lawyer and goes to the gym at six in the morning. However, it feels so artificial and cliché. It reads like a script, and I find it incredibly challenging to produce something that resonates with authenticity. I just can’t do it, man.

This interview has been edited and condensed for clarity.