27 November 2025
Newsdesk
Javier Galvez grew up within a vibrant underground artistic scene in Tijuana, Mexico, that shaped his bold and intuitive approach to storytelling. He stepped into the spotlight early, taking the lead in a stage adaptation of Rango, and by his teens he was commanding audiences in roles such as King Herod in Jesus Christ Superstar, Rudolpho in Matilda, Roger in Grease, and Brian in Avenue Q, while also experimenting with avant-garde theatre. Determined to push his craft further, he moved to the United States to study at the Academy of Art University in San Francisco and AMDA in Los Angeles, where he sharpened his on-camera work and began creating his own pieces as a writer and director. Now based in Los Angeles, Javier continues to bridge theatre, film, and independent artistry with authenticity, charisma, and fearless creative conviction.
That same instinctive presence anchors his work in the surreal dark-comedy short The Method, written and directed by Paolo Cerrino and produced by hrvst in collaboration with O.M.F. Productions.
The Method follows Greg, a struggling actor preparing for a high-stakes audition for the role of a monster bug, whose obsessive rehearsal slowly blurs into a real metamorphosis as vision warps, limbs ache, and reality slips out of place. Within this unraveling world, Javier steps into the role of The Neighbor, an intrusive, talkative, comical, and slightly unsettling presence who adds both humor and tension to Greg’s spiraling journey. With Mic Frommelt and Davyd Markovich joining the cast, The Method offers a strange and magnetic story about ambition, identity, and the unexpected cost of transformation.
Welcome Javier! You play The Neighbor, a character described as intrusive, talkative, off-beat, and slightly unsettling. How did you approach bringing that blend of comedy and discomfort to life?
Honestly? Just being in the moment. In my scene I had to hold open an elevator door (which is harder to do than you would think) and I also had to find moments to talk with my eyes closed because I had makeup on my eyelids that was made to look like a second set of eyes. On top of that, it was shot as a POV, so I was not actually looking at anyone’s face. It was our DP and good friend, Mason Seeley, wearing a helmet with a camera rigged on it. So the funny thing is there, there’s truly no way to not have all of that result in something not funny and uncomfortable.
The director, Paolo Cerrino, offered you the role without an audition after seeing you at a screening. How did that spontaneous moment influence your connection to the character and to the film itself?
Oh my god, it was so funny. I’ve known Paolo and Mason (Our director and DP, respectively) for some time now. They are both filmmakers and they were having a screening for their films. I was told they were more on the horror/thriller. So, as the method-dresser that I am, I wore an all-black outfit. I am talking about a black lace shirt, leather pants, and a black leather opera length glove on one arm as a reference to something that happened in one of the films. A long time passes, and my roommate who is also good friends with Paolo tells me that he has this film he’s working on, with a role that he’d like me to play, and all because of the outfit. And once I got to read the script and I’m saying all these out of pocket lines, I thought it was hilarious. It all felt very comfortable and safe because it was almost kind of like someone saying “I want you”. Not asking for a character, or an archetype, but just trusting me to deliver. Which I have to say, is such an honor, but also absolutely terrifying. But in the end, we both really liked how it turned out, now all I can do is wait for the final cut! Hopefully he doesn’t change his mind.
The Method explores an actor’s slow metamorphosis into the creature he’s auditioning to play. How does your character, The Neighbor, fit into Greg’s unraveling world?
In every film where a character is losing it, you have that one moment where they get that sort of confirmation that something is really really wrong. I think I’m sort of that character that comes in and really makes it clear that the guy is going through something. Weird neighbors already feel like a fever dream, My weird neighbor is very much a fever nightmare, no sleep required.
This film is a collaboration between hrvst and O.M.F. Productions, featuring a small but dynamic cast. What was it like working within such an intimate creative team alongside Mic Frommelt and Davyd Markovich?
Funnily enough I never actually got to act alongside them! That’s the magic of cinema. We didn’t film together but I met them in passing and I got to see little moments of them filming their scenes. It was great stuff. Everybody was lovely, cast and crew. Some of them I had never met and some I consider to be my friends, but regardless of that everyone was so extremely professional, very talented, and passionate about the process. You can really tell when someone loves what they do because they are a joy to work with. Which really helped because one of the filming locations was my real life apartment, so these people were in my space. That’s not easy! But with them, it was.
The tone of the film blends surrealism, anxiety, and dark humor. As a performer, what excited you most about stepping into a story where reality and transformation blur so intensely?
It is just such a gift to be able to be weird. I’d go as far as to say that being strange and surreal is easier than being grounded and realistic. When you’re focused on acting like a normal person it’s easy to get in your head about how actually “normal” you’re being. When you’re told to be unsettling, it’s so freeing. You don’t worry about looking weird or moving wrong because you can use that in your performance! It’s like unbuttoning a pair of tight jeans after a big meal. It just feels right.
Can you share any fun facts from set?
So, there is a part in the film that I mentioned before where I have to run to stop an elevator door before it closes. Originally I stopped it while it was still all the way open, but for one of the takes I got there a little too late so I could only really fit my head through the door to stop it (which in hindsight was a bit of a risk so please don’t try at home) and it ended up being funny and looking good on camera so that’s what they asked me to do for the following takes. Another fun fact is there is a wall in the background at one point of the film that’s decorated with this sort of black and white collage of actors with their eyes swapped. Me and my roommate, Serena Rosado (who was part of the set decoration team) cut and taped all those photos on the wall. As I am writing this, they are still there. We plan to keep them.
How can people follow your journey?
You can follow me around in person when I am out on a walk, or if walking is too much cardio, you can follow me on Instagram! @javiigalvezz and also follow hrvst (@hrvst.film) for updates on The Method!
