Private Project


Sully's mob family thinks he’s dead—now this rebel gambler vows to protect the daughter he never knew he had, as she plots to become the first woman trainer to win the Kentucky Derby.

  • Amy Mäki
    In Your Blood
  • Amy Mäki
  • Amy Mäki
    Aftermath of Apartheid
  • Lisa Maki
  • John P. Moore
    Key Cast
    M.O.B. Finance
  • Charlene Rose
    Key Cast
    The Bride from Vegas
  • Mark Andrew Richards
    Key Cast
    The tale of two Kings
  • Val Uchendu
    Key Cast
    Ankara Nation
  • Rocio Ibarra
    Key Cast
    Borrowed Moments
  • Joshua Basili
    Key Cast
    Yard Sale
  • Leonard R. Garner
    Key Cast
  • Project Type:
  • Genres:
    Crime, Drama, Gangster
  • Runtime:
    10 minutes
  • Completion Date:
    May 1, 2017
  • Production Budget:
    3,600 USD
  • Country of Origin:
    United States
  • Country of Filming:
    United States
  • Language:
  • Shooting Format:
    Blackmagic URSA Mini 2 K
  • Aspect Ratio:
  • Film Color:
  • First-time Filmmaker:
  • Student Project:
Distribution Information
  • No Distributor yet
    Country: United States
    Rights: All Rights
Director Biography - Amy Mäki

Amy Mäki’s time working on racetrack provided inspiration for Rub the Speed and her feature-length screenplay, In your Blood. She has production credits on several movies and is a former TV news camera operator/editor. The Omaha, Nebraska native holds a BA in Film from Columbia College and a MFA in Screenwriting from the Institute of American Indian Arts. Mäki recently directed her first short film, Rub the Speed. Mäki resides in Santa Fe, New Mexico.

Add Director Biography
Director Statement

Rub the Speed is a Gangster/Drama about a losing it all, finding it all and losing it again. Sully, the main character wanted to have a family of his own, but is lured into the mob and is asked to do things that test his limits of his love.

I chose to let the scenes breathe because I wanted the audience to experience the long wait time that Sully experienced in the past twenty years hiding from the mob and holding onto a long-lost love, Caroline.

Sully is searching internally and externally for himself. I use the drawers as the metaphor for hiding the truth and ultimately releasing the truth. Sully makes the decision to get the remaining heist money from Domingo. Sully wipes the sweat off his hands, knowing he could walk away, but he goes in really looking for Caroline.

The crunching of the rocks, the barking dogs and the lead up is long and thought out. The setting is misty, and a cold blue tone. I used classic holds and an increasing color throughout the film. I wanted to convey a gangster film with a French filmmaking touch. I tell the tale from the father’s perspective because I didn’t want to direct the over-done, stereotypical film of the girl and her horse. I wanted to break free from this most of all.