PHOTO SHOOT + ARTICLE
Before Blastoff
By Altrean Alan & Brandon Silva
Models
Altrean Alan
Stylists
Elijah Allen, Michael Alvarez, Bebe Smith
Directors
Elijah Allen, Brandon Silva, Bebe Smith
Photographer
Giacomo Silvestri
Before Blastoff
So tell me a little about how you got into modeling.
It started back in Indonesia, honestly. I grew up there and there was always this culture of presentation — how you carry yourself, how you dress. When I came to the States for college, I found RU Modeling and then F.A.C.E Modeling club, and it just clicked. It was like finding a language I already knew but hadn't spoken yet.
And you're balancing all of this with school — physics and acting, right?
Yeah, physics and acting. People always look at me funny when I say that combo. But honestly, they're not that different. Both are about understanding how things work — one is the physical world, the other is human behavior. And then modeling sits somewhere in between.
Let's talk about acting. What's your philosophy when it comes to staying in character?
You just got to stay in character because if you break face, then there's no more show. It's that simple. The moment you let the audience see you instead of the character, the illusion breaks. And theater is all about the illusion — it's a contract between you and the audience. They agree to believe, and you agree to give them something worth believing in.
How have you grown since your freshman year in terms of your theatrical work?
Massively. Freshman year, I was just trying to not trip on stage. I was stiff, overthinking every line. Now, I let the character breathe. I've learned that the best performances come from listening — really listening to your scene partner — not just waiting for your turn to speak. The growth has been in subtlety. In learning that less is often more.
This idea of stardom — does it matter to you?
This idea of "Stardom" — I don't care about stardom. I care about putting in the work. Stardom is a byproduct. If it comes, great. If it doesn't, I still made something I'm proud of. The people who chase fame for fame's sake, they burn out. They're performing for the wrong audience. I'd rather be respected by ten people who understand what I'm doing than adored by a million who don't.
You paint too, right? Tell me about that.
Yeah, I do a lot of abstract work. Painting is the one thing where I don't have to perform for anyone. There's no audience, no director, no camera. It's just me and the canvas. And the abstract stuff lets me process things I can't articulate with words. Sometimes a feeling doesn't have a shape until you give it one.
What are your thoughts on AI in creative industries?
It's complicated. I think AI is a tool, and like any tool, it depends on who's wielding it. But there's something about human imperfection that makes art art. A brushstroke that's slightly off, a vocal crack in a song, a moment of hesitation on stage — those are the things that make us connect. AI can replicate patterns, but it can't replicate the experience of being alive. And that's what art communicates — the experience of being alive.
What does it mean to you to be seen?
To be seen, is to be accepted for your whole self. Not the curated version you put on Instagram, not the version your parents want you to be, not the version that's palatable to everyone in the room. To be seen is to stand in front of someone with all your contradictions and complexities and have them say, "Yeah, I see you. And you're enough."
And your relationship with performing — with the audience?
Yeah, the audience does not turn me on. I feel as if the audience excites me. There's a difference. Being turned on implies something passive — you're reacting. Being excited means you're activated. The audience gives me energy, and I channel it back. It's a loop. A feedback loop of presence.
Any thoughts on love?
Love is like a fart. If you force it, it turns to sh*t. [laughs] I'm serious though. The best things in life — love, creativity, connection — they can't be manufactured. You have to create the conditions for them and then let them happen. The moment you try to control it, you kill it.
Favorite actors? Films?
I love Good Will Hunting. That film is everything — the writing, the performances, the raw vulnerability of it. Robin Williams in that park bench scene — that's the standard. That's what I'm working toward. Actors who can be completely still and completely devastating at the same time.
What does Routure represent to you?
Community. A place where people who care about creating something beautiful can come together and actually do it. Not talk about it, not post about it — do it. And there's no ego. Everyone's there because they love the work. That's rare, and I don't take it for granted.
Last question — any advice?
Be honest. Emotionally honest. With yourself first, then with everyone else. People can feel authenticity. They can also feel when you're faking it. So don't fake it. Show up as yourself, even when it's scary. Especially when it's scary.
