SAG-AFTRA Feature 'Three Sheets to the Wind' Sets Nashville Shoot for Fall 2026

A Nashville-based independent feature film is moving through casting and pre-production with a confirmed shoot window targeting mid-to-late September 2026. 'Three Sheets to the Wind,' a SAG-AFTRA Ultra Low Budget Agreement (UPA) production, is slated for a compact 12-to-14-day principal photography schedule, and the project is actively seeking cast and crew ahead of that tight window. For Nashville-based film professionals looking to fill their fall calendar, this one is worth watching closely right now.

The film comes from writer-director-executive producer Jared Stanton, who is also serving as the project's chief creative force across multiple roles. The story follows Monty, an aspiring filmmaker whose greatest frustration is that he has spent his life being shaped by other people's decisions rather than his own. The central irony, that a would-be storyteller has no authorship over his own narrative, plays out over a single transformative night in which he finally claims that authorship for himself. It is a character-driven, intimate premise that suggests a production leaning heavily on performance and atmosphere rather than spectacle, which will shape the kind of crew and cast this production is likely pursuing. Victoria Greenwood is producing alongside Jason Pundt and Nate Eggert, with Greenwood also handling casting duties, meaning talent inquiries and crew conversations are likely flowing through a small, centralized team.

The production is organized under Three Sheets to the Wind Film LLC, a single-purpose entity established for this project. That structure is entirely standard for independent features of this scale, and the SAG-AFTRA UPA designation gives working actors a clear framework to understand the compensation tier. The Ultra Low Budget Agreement covers theatrical features with budgets at or under approximately $250,000, which sets expectations for the production's overall scale without diminishing its ambitions. Independent features operating under UPA agreements can and do attract serious talent, particularly when the material is strong and the creative vision is clear. The fact that Stanton is occupying the writer, director, and executive producer chair simultaneously signals this is a deeply personal project, the kind that often draws committed collaborators who believe in the work.

Nashville is a smart and increasingly active choice for independent film production. Tennessee's entertainment industry incentive program offers a production tax credit that has drawn a growing number of film and television projects to the state, and Nashville specifically has seen a notable uptick in production activity in recent years. The city has a developing local crew base, though productions of this scale in Nashville will often find themselves drawing on a mix of locally-based crew and talent relocating from Atlanta, which remains the regional hub of the Southeast production ecosystem just a few hours south. For Nashville-area crew, this kind of local SAG-AFTRA feature is a meaningful opportunity to work on a union project without leaving home. The compressed 12-to-14-day schedule also makes this an attractive short-term commitment for crew juggling multiple projects in the fall.

Given the single-night narrative structure and intimate character focus of the logline, crew should expect a production that prizes flexibility and efficiency over scale. A lean art department, a small camera package, and a tight locations footprint are all reasonable expectations for a feature built around one man's internal journey over the course of a few hours. That said, shooting a night-heavy production in a compressed schedule places real demands on a gaffer and key grip to work quickly and creatively under time pressure. Location scouting in Nashville to find the right bars, streets, and private spaces to carry a single-night story will also be a priority, making an experienced locations manager a key early hire. The project is registered as a SAG-AFTRA signatory production, which means union crew working under affiliated agreements should take note.

With production still roughly eight months out, the hiring pipeline for 'Three Sheets to the Wind' is open but moving. Key department heads are likely being identified now, and cast conversations are underway given that casting is actively listed as a current production phase. Crew members based in Nashville or willing to work in the market should move sooner rather than later on a project this size, as the core team tends to come together quickly once a director with a strong personal vision starts making calls. The full production listing for 'Three Sheets to the Wind,' including production contacts, office information, and crew list updates as they become available, is live now on ProductionList.com. Bookmark it, check back regularly as fall approaches, and make your move before the dance card fills up.

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