Major(s): American Studies, English
What is your current role? What was your journey in arriving there?
My current role is a little difficult to describe. I write, produce, and/or direct films and television, but what this means day to day, who can say, really. It varies from project to project. Right now I’m in talks to direct two different features, one of which I wrote, one of which I may rewrite. I’m currently executive producing a low-budget independent film which starts production in 10 days, and another indie which is nearing the end of post-production. I’ve taken calls this week about five different projects which may or may not need my help in some way. I just signed shopping agreements with producers for several different projects, all or none of which may see the light of day. In the midst of all that, I am rewriting another feature project — all while awaiting the release of a TV show that I directed last year. Ah, the life of a freelance storyteller.
The journey arriving here has been long and tumultuous — I graduated Wes back in the days of yore (i.e., before smartphones), having fallen in love with film in my time there. I moved to LA eventually, shot a bunch of short films (two of which got released by a studio in 2008 on DVD), and eventually landed my first indie gig as a writer/director (THE LEAST OF THESE, released in 2011 on DVD by Universal), parlayed that into my first studio writing gig (which never got made — yahoo!), then spent the next three years adapting projects for different producers (none of which got made — yahoo!), then segued into some commercial work which landed me some accolades and attention (spots that aired in Super Bowls in 2010, 2012 and 2013), which led to client work, which led to more feature writing gigs with some fancy producers (none of which got made — yahoo!). Directed another indie in 2021 that was released theatrically as well as SVOD/TVOD/PVOD in 2022 (WHAT REMAINS), then got hired to direct a few episodes of a TV show later in 2022, and now that the WGA strike has (thankfully) come to an end am hustling on a number of different projects (which, again, may never get made — yahoo!).
What do you enjoy about your work? What do you struggle with?
There’s lots about this life that I enjoy, as well as a few cons.
PROS:
— I get to live in my imagination all day. Sometimes I even get paid for it! (Very infrequently.)
— Flexible hours — which really helps when I need to take the dog for a walk. (Which reminds me: I need to get a dog so I can enjoy the flexible hours.)
— It’s fun to collaborate with other people who are often at the top of their game and make me better at what I do. (I am always trying to learn how to get better at what I do, which is kind of a pain.)
— I like telling stories. Some people say I’m good at it, which means I get to do what I like and am good at. Which is way better than if I were day trading or something. (I don’t know how to trade days.)
CONS:
— Never being able to turn my imagination off.
— Always having to find work in order to, like, pay bills and stuff.
— Hustling. All the time, hustling. SO MUCH HUSTLING.
— Strikes. They are the worst. But so is the stuff we are striking about, so I guess it’s a wash. But still, that was a lot of walking.
— DB Cooper. Though I guess he’s an ex-con, not an actual con.
How did your time at Wesleyan influence your career choice/journey?
Filmmaking is both an art and entertainment. Prior to Wesleyan I thought of film primarily as entertainment; being at Wesleyan and taking the history of cinema classes as well as all the other film classes I took, from Documentary to the War Film, taught me to appreciate the art. The first time we watched THE SEARCHERS, and I realized what John Ford was doing in terms of upending the Western genre, I was mesmerized. Being in classes with like-minded students who wanted to unpack the works of Capra, Scorsese, Ford, Borzage, etc., instilled a love for the medium that continues to this day. Even now, in LA, I still participate in various alumni events/gathering that always get me thinking about film and storytelling; I just finished rereading “Hollywood: An Oral History,” written by our own Jeanine Basinger and Sam Wasson, and came away with a renewed appreciation for the history of our business and of this medium. So Wesleyan continues to impact me in significant ways.
Do you have any advice for students thinking about entering your industry?
Lurn to tipe reel gud.
Joking aside — there’s lots of advice that people can give — it depends in part on what you want to do. The path of being a creative executive or a producer is very different than being a director or a writer.
A few things that might help regardless of your career path:
1. This is a long game. I came to LA at 24 and felt like the oldest 24-year-old who had ever lived, and as a result felt a real pressure to achieve achieve achieve. I suppose that is always the case, and to a certain extent, I suppose I lived that out (it’s remarkable to make your first feature film at 29). But at the same time, man cannot live on hustle alone. You have to pace yourself in a business that can be and often is relentless. Self-care is important care. It takes a long time to get where you want to go, and that’s okay. Keep your eye on the long game.
2. Content still rules. Whether you are a writer, producer, director or executive, the need for great stories and great storytellers is voracious. Find compelling ideas or stories that you are passionate about making.
3. We is greater than me. You cannot survive alone in this business. Build good relationships. Be supportive of others. Give without thought of return. Be helpful. Two weeks after I wrapped my first feature as a director, I was wrapping cable for a friend’s short film. (I am not good at wrapping cable.)
4. Find side hustles. This is a tough gig to make work as a full-time basis. I didn’t get an “industry job” when I landed in LA; I worked as a marketing director for two years before making the jump to full-time’ish film stuff. Friends of mine teach, drive Uber, consult — there are lots of side gigs to take while you wait for the main one to pan out.
5. Have interests/outlets outside of the business. Whether volunteering/getting involved with non-profit work, hobbies, outside interests — whatever it is, have something to explore beyond the consuming world of the business. Wesleyan people are well-rounded, so I am preaching to the choir here. (Hi, choir!)
Updated February 27, 2024
