Micro-Budget NYC Feature 'For It May Be Better Than Nothing at All' Heads Into Casting With SAG-AFTRA Agreement in Place

A quietly ambitious independent feature is taking shape in New York City, and for emerging crew members and talent looking for meaningful work on a SAG-AFTRA-covered production, this one is worth paying attention to. 'For It May Be Better Than Nothing at All' is currently in pre-production and casting, with principal photography set to begin on October 26, 2026, in New York, NY. The project is operating under a SAG-AFTRA Micro Budget Project Agreement, which opens the door for a wider pool of union-eligible talent while keeping the production lean and focused. With roughly six months until cameras roll, the hiring window is open and the team appears to be building deliberately.

The film is written and directed by Théo Fernandes, who also serves as one of the film's three producers, making this a deeply personal project with a clear creative vision at the center. Writer-director hyphenates at the micro-budget level often signal exactly that kind of intimate authorship, where the person behind the camera has been living with the story long before a crew was ever assembled. The logline bears that out: the film follows a young man with epilepsy who leaves his suburban hometown for New York City, carrying little more than a restless need to find something real to hold onto. It is a character-driven, interiority-first story with the DNA of American independent cinema at its most searching. Fernandes's background and previous credits are not widely documented in major trade press at this stage of his career, which is itself a signal that this is a first or early feature for a filmmaker stepping into a larger form. That context matters to crew assessing the project.

Joining Fernandes in the producing chair are Joseph Perkins and Hunter Hawke. The three-producer team on a micro-budget feature suggests a collaborative, close-knit structure where roles likely overlap and crew members can expect direct access to decision-makers rather than layers of studio bureaucracy. Casting is being handled by Tommy McCabe, whose involvement is a meaningful signal for talent agents and actors following this production. A dedicated casting director on a SAG-AFTRA Micro Budget project indicates the team is serious about assembling a cast with real craft, not simply filling roles with whoever is available. Agents representing emerging talent should take note of McCabe's attachment and reach out accordingly.

Production is set entirely in New York City, which is both thematically appropriate and logistically significant. New York remains one of the deepest crew markets in the world, with a robust local IATSE presence, strong union infrastructure, and a deep bench of experienced freelancers across every department. For a micro-budget production, that local talent pool is essential: the ability to hire experienced New York crew without relocation costs is one of the primary reasons productions at this budget tier choose to stay in the five boroughs rather than chasing incentives elsewhere. New York State's film tax credit program, which offers a 25 percent base credit with additional benefits for productions shooting in certain boroughs and qualifying for lower-budget provisions, is also likely a factor in the location calculus. The story itself is set in New York, which means the city is not just a practical choice but a narrative one, and that alignment between story and location often produces the kind of grounded, authentic work that travels well on the festival circuit.

Operating under SAG-AFTRA's Micro Budget Project Agreement, this production falls into a category designed specifically for features with total budgets under a threshold that allows for modified rates and terms, making union coverage accessible for smaller projects while protecting performers. For non-union crew, micro-budget features like this one frequently hire on a similar scale, keeping departments small and prioritizing versatility. Expect a tight core crew rather than large department rosters. The story itself, which is grounded, contemporary, and New York-set, does not suggest heavy VFX, large-scale stunts, or extensive period work. This is likely a naturalistic shoot favoring practical locations over stages, which puts the locations department and the camera team at the center of the production's creative life. A strong eye for the texture of New York neighborhoods will matter here.

With a late October 2026 start, there is meaningful runway for pre-production, but department heads in the New York market know that the best opportunities get filled early. If you are a DP, production designer, sound mixer, or locations manager with experience on indie features in New York City, this is the kind of project to get in front of now rather than waiting for a formal crew call. For actors and their representatives, Tommy McCabe's casting office is the right point of contact. The full production listing for 'For It May Be Better Than Nothing at All,' including production office contact information and any updated crew attachments, is available now on ProductionList.com. Bookmark it, check back regularly as the team continues to build, and get your introduction in early.

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