We met the McCutcheon’s about 7 years ago. We had begun working with them on some studio branding and there was an instant connection with the family and our team. About six months into our work engagement, Ryan was killed in a car accident. Bob called me at 7 that next morning to tell me the news. I was in shock. We were all in shock. We were all grief stricken. We couldn’t believe he was gone. It was instantly numbing, like a loud ringing in my ears. Courtney and I went to the funeral. There was a flood of people for hours. Hundreds of students, teachers, friends, family and more students – all day and into the night. Everyone surrounding this family in what I can only describe as protection and love. It was beautiful to witness but also overwhelming to understand. How could this family who had just lost a son be so gracious to so many people during the most devastating time?

We would come to understand its just who the McCutcheons are – always.

They immediately started a foundation in Ryan’s honor. They opened the studio to kids who had never experienced music. They found ways to pour into people’s lives. Brett was the same way. He was purposed to finish high school and go to college.

We were brought in to film the original “The Ocean” project the next year. Brett and June talked openly about composing and writing the music and Ryan’s connection to it. You could see Brett’s intention to honor Ryan’s legacy and also find a way to work through the tremendous grief he was experiencing.

“The Ocean” 3-track EP was released with a five-minute video explaining the narrative. The music found an audience and resonated deeply with the family and friends who loved Ryan, Brett, Dana and Bob.

Brett continued at Slippery Rock University, following in Ryan’s legacy to become a teacher. When Covid hit America, Bob had contacted us about doing some pro-bono scripting and editing work to celebrate and honor front-line workers and then again to help raise money for restaurant workers who were struggling with their bills through an online 24-hour concert.
The McCutcheons were always including us in ways to help others and we did just that.

And then I began to hear rumblings that Brett was working on new music and reworking some of his original “The Ocean” pieces. He was playing with orchestration and had new ideas based on his journey through grief.

Bob texted and said he and Brett wanted to talk, and talk we did. Brett explained he had written new music and overhauled the current three tracks. He wanted to share his story but do it in a way that wasn’t focused on him. He wanted to offer hope to people dealing with grief. He thought an animated video for one of the tracks might work.

I listened and said I had another idea. If they were going to hire Pittsburgh Symphony Orchestra musicians as the orchestra backing, let us film the recording and also film some of the people who have been helpers to them during this time. I thought we should give the background of creating the music but let’s really make it an expression of love for Ryan.

They agreed. Bob sent me the tracks and I cried for an entire month listening to them. I was honored they were bringing us along on this journey.

We filmed and then I went to work on the script. I wanted to keep the alignment of the track placement going from “Intro”, to “Sinking”, to “The Bottom”, to “Floating” and then to “The Shore.” I also didn’t want to sensationalize anything. I didn’t want to shock the viewer or make them feel uncomfortable. I wanted to give them time to get to know Brett, Dana, Bob and Ryan.
I wanted them to feel safe in what they are seeing and let the story flow in the emotion of the music. I wanted them to know if they are grieving, they can also experience hope.

We filmed the glorious PSO musicians and friends, conducted interviews and then spent time with the family over the course of five days. I had Brett record personal video diaries for me explaining each of the tracks, what did they mean, why did he use the instrumentation, how was he feeling, what was this process like for him? He was still at Slippery Rock University, so we would get uploads and I would watch him tell me things he never said on our Zoom calls. He’s private but he’s also very vulnerable. His diaries told me stories and helped direct me to what I needed to capture. Some of those diary entries are in the film and I think some of the best pieces of raw emotion.

I broke a few rules in this film. The fourth wall disappears. I wanted you to feel like you were in the room with everyone. We pushed in and didn’t keep perfect framing. It mirrors how a person would be in a room, where they would stand or sit if they were listening in. We kept in moments where Bob or Brett look at the camera. I wanted to try and establish a familiarity with them. We let things linger a little. Letting the quiet of the moment just sit. That’s how grief is sometimes. I wanted you to feel that. In “Floating” you’ll notice the bottom right rectangle is kept open during the entire cut of that piece. That’s for Ryan. There are nods to him and space for him throughout this film. In the emptiness, his spirit lives. In the filming of the orchestra, I wanted you to feel as if you were in the room, close to the musicians or sitting in the orchestra. We kept lighting minimal. Just pops of light to symbolize hope and the memory of Ryan. We were respectful and honored the vulnerability of each story.

Brett wanted to make sure we had a voice outside of family and friends. He wanted someone who always offered help to kids and families experiencing grief. That’s where’s Terese came into our orbit. Brett had gone to The Caring Place after Ryan had died. He was moved by what they offered kids. He wanted to give them a platform to tell others there is help. Terese LaVallee not only agreed to be part of this project, she opened her space for us to learn and be part of the healing. I’m forever grateful.

We filmed in the early summer 2023 and began editing through fall into the beginning of January 2024. I called Brett and Bob in early December and asked if Brett would have time to score the film. We had just about locked the story and one month until our first submission.
He worked over the holiday break and completed the score in early January. I think it brings an added level of cohesion and emotion to the piece. There’s a low hum throughout. To me, it’s a heart cry. I love it.

Grief affects each of us. We’ve all had tremendous loss at one time or another. Each of us has our own story to tell. I’m grateful we’ve been able to be part of sharing Brett’s beautiful composition, his story and his love for his brother. My hope is that it gives hope to those who need it.

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Jennifer Schlieper
Director, Creative Director & Co-Owner

Emmy-nominated, award-winning filmmaker, director, producer and writer, Schlieper didn’t start her career in film. She cut her teeth as a Creative Strategist at one of the largest PR firms in the world launching products and services for Fortune 100 and Fortune 500 power brands. Making a leap into the corporate side, she led GNC’s global marketing efforts as one the youngest female senior executives.

Flying Scooter was born in 2017 out of a need to do something that mattered for those that mattered. The intent is to impact through client partnerships, mission-based non-profits and stories silenced by those that fear the truth. Schlieper has written, directed and co-produced with Gumpf, hundreds of stories in the last seven years. The Ocean-Five Years is their first film festival release winning Best Documentary at VIFF and Officially Selected at Milan FFI, Documentaries without Borders International Film Festival, Red Rose Film Festival and Toronto International Women Film Festival (as of Oct. 2024).

Schlieper continues to lead strategic initiatives for their clients and has helped raise millions of dollars and tell the stories of Pittsburgh’s homeless and underserved children.

She sits on the board for The Beauty Restores Foundation, The Amelia Project and The Pennsylvania Film Industry Association (PAFIA).

Director’s Resume

A dedicated multi-instrumentalist, composer, and music educator, Brett embarked on his musical journey while living in Prague, Czech Republic. He began playing the piano at the age of four, discovering a lifelong passion for melodies. Later excelling as a saxophonist and percussionist – leading marching bands and ensembles – Brett remains grounded and committed to nurturing emerging talents. After studying music education at Slippery Rock University of Pennsylvania, his genuine love for music education led him to guide high school marching bands post-graduation. He is now a Band Director at Mt Lebanon High School, just outside Pittsburgh, PA.

Teaming up with long time friend and collaborator June Bracken, Brett recently co-produced the EP “The Ocean – Five Years,” a resonant orchestral pop masterpiece. The project showcases his brilliance, featuring notable musicians like Pittsburgh Symphony Orchestra members and Chris Jamison from “The Voice.”

On September 30, 2017, Ryan A. McCutcheon, 19, was killed in an automobile accident while returning to his college campus after assisting high school drum students at a local band festival. The Rhythm19 Fund was established by his family through The Pittsburgh Foundation to keep his spirit alive through music.

Ryan was an accomplished percussionist, a dedicated instructor and a mentor to high school and college students. Following his graduation from North Allegheny, Ryan attended Robert Morris University. He remained active musically, marching with Nomad Indoor Drumline, advising the drum line for the Hampton High School Marching Band and playing drums with his friends in a college rock band. He was also an active drummer at The Vault Recording Studio in Pittsburgh where he frequently played and recorded.

Ryan was a bright, light-hearted, funny and loving soul. He loved playing music, working with kids and teaching others.

The mission of The Rhythm19 Fund is to honor Ryan’s memory by providing access to art and music education for children and youth.

Through charitable contributions and volunteerism, we provide access to music for children and encourage the use of music to enrich the lives of those with challenges or special needs. The fund also strongly encourages the continuation of music programs for school children.

We are active in fundraising, providing financial support and volunteering our time. To date, the fund has raised over $200,000. As a result, we have awarded numerous high school scholarships, supported local music programs with equipment purchases and even helped fund trips to music competitions.

We also enjoyed hosting several high school and middle school field trips, and support a week long “Music Makers” summer camp for 8th through 12th grade students at The Vault Recording Studio each year.

“The Intro” starts with his present self, looking back at the ocean from the shoreline. The hopeful orchestration contrasts with the lyrics from five years ago. The new piano theme, combined with June Bracken’s vocal harmonies, symbolizes the idea that everything was going to be okay. However, even as time has passed, we find ourselves continuing to struggle with grief. The digitally reversed orchestra transitions us back into old memories as we rewind the clock.

“Sinking (feat. Chris Jamison)” explores the initial stage of grief: denial. It begins with the sound of waves crashing and the initial piano theme, accompanied by vocals from Chris Jamison, both symbolizing the person who has been lost. June’s vocals express a plea to do anything to regain the memories they shared, represented by the metaphor of clock sounds for lost time. The combination of sorrowful vocals and joyful orchestration creates a sense of disbelief. The song concludes with the first realization of loss, marked by sudden low notes from the piano and deep strings.

Loneliness and depression give “The Bottom” its dark and eerie ambiance through the orchestra. The seemingly unending cycle of negative thoughts inspires repetitive lyrics from June. Now, at the ocean’s lowest depths, we can gaze upward to witness society continuing its journey through the passing waves without us. The notion of swimming upward seems futile as we plunge deeper into darkness and despair. The overwhelming power of the entire orchestra delivers a resounding declaration of no return.

Hope emerges in “Floating.” June’s vocals embrace grief and set forth on a journey to honor the lost. There’s an acknowledgment that nothing will remain the same, but this doesn’t imply that life halts for all those affected. In fact, those we lose never truly depart; Chris Jamison’s vocals and clock sounds reappear in the final chorus. As the final chorus concludes, we revisit the original piano theme from “Sinking” to symbolize the departed person, while the song closes with the waves crashing on the shore where it all commenced.

The Shore” portrays the perspective five years later by posing two questions: “What now?” and “Did I make him proud?” We swiftly recognize that the process of grief has never followed a linear path. One day you may feel on top of the world, and the next, you might feel submerged in the depths of the ocean. While reflecting, memories and themes from the past resurface, shifting the mindset from not striving to make the lost person proud, but rather realizing they were proud all along. The music builds and fades into Chris Jamison’s first featured lyrics: “At what point do you become the older sibling?” This climactic build marks a significant coming-of-age moment for our character, combining the essence of “The Intro” and “Sinking.” We move beyond relying on living through the lost and truly begin living our lives alongside those we grieve. Everything was always destined to be okay.