Bro, I'm Going Rogue — The True Story Behind the Movie

For years I couldn't talk about most of this. Now I can.

Bro, I'm Going Rogue is a film project based on the strangest chapter of my life: the years I spent as a cooperating witness for the FBI, the moment I realized the deal I'd signed wasn't the deal I was living, and what I did when I decided to stop being handled.

This isn't a puff piece about Wall Street. It's about what happens when a 26-year-old kid from New Jersey builds a brokerage in the Bahamas, gets pulled into a federal investigation, wears a wire against people he used to drink with — and then, when the government moves the goalposts, turns the same recorder on his handlers.

A self-made trader becomes the FBI's most productive Wall Street informant, takes down a pump-and-dump syndicate from the inside, and then — when the Bureau tries to bury him with the same evidence he helped them gather — flips the wire the other way.

Audiences are done with the glamour cut of finance. The Wolf of Wall Street was 2013. Billions is over. Dumb Money showed there's an appetite for the other side of the trade — the retail side, the messy side, the side where the people in suits aren't the heroes.

Bro, I'm Going Rogue sits in that lane, but it's not fiction and it's not a meme. It's a procedural: surveillance, cooperation agreements, debriefs, immunity letters, the specific sound a federal wire makes when it clicks on in your pocket at a steakhouse on 46th Street.

Three acts, roughly.

Act One — The Rise. Building SureTrader in the Bahamas. Why offshore. Why day-traders. Why the regulators eventually came knocking.

Act Two — The Flip. The arrest that wasn't an arrest. The cooperation agreement. Two and a half years wearing a wire on people who thought I was their friend.

Act Three — The Turn. What happens when you realize you're the asset, not the partner — and you start recording the people running you.

The set pieces are real: a tarmac in Nassau, an interrogation room in Lower Manhattan, a yacht deck where a deal gets cut, a surveillance van on Lexington. We're not inventing those scenes. We're staging what already happened.

The team has put together a look book — six cinematic stills shot in the visual language we're pitching: 35mm, 2.39:1, film-noir contrast, no glossy finance-bro gloss. You can see them on the pitch site.

The pitch package at rogueinformant.com includes the full logline and synopsis, three-act structure and tentpole set pieces, character map and the undercover engine that drives the second act, comparable titles and the financial case for the project, production scope and the rights / diligence trail, and a contact form for producers, financiers, and rights reps.

If you're a producer, showrunner, financier, or rights rep and you want the deck or a conversation, the contact form on the pitch site routes directly to me and a very short list of people working on this with me.

If you're a journalist, same form — note it in the message.

If you're someone from the old days who recognizes themselves in any of this: you know how to reach me.

— Guy