Tag Archives: independent film

I shot a monologue for my pals Michael DiBiasio and Rebecca DeOrnelas. Watch it.

8 Aug

Hey all,

What a busy week. I posted an interview yesterday with Michael DiBiasio, and today I post a monologue I shot for this #VideoblogsFilm crowdfunding campaign. It was a real pleasure to work with Rebecca and Kari on this. Take a watch, and check out Michael and Rebecca’s campaign!

Have a great weekend!


#RealWorldArt: Bonnie Blue Edwards.

8 May

Whenever I read about artists who are successful at making their own work, I always wonder ‘how the hell did they do this and live a real life while doing so?’ As a working artist, I find achieving a life/art balance to be incredibly difficult. I am always on the lookout for advice about how to do it. When my former theater professors at the University of New Hampshire asked me to speak to a group of artists about life post-school, I went to social media to get new perspectives. Over 40 people commented, and my friend (and blogger/filmmaker extraordinaire) Michael DiBiasio asked me to guest blog. The response was so good that I’ve decided to conduct interviews with working artists on a semi-regular basis.

My subject this week is film and theatre producer Bonnie Blue Edwards. I met Bonnie through a mutual contact who often introduces me to people within my field. Often these meetings go nowhere, but Bonnie and I instantly hit it off and became pals. We bounce ideas and projects off of each other, and I find her work ethic impressive and inspiring. As she is working on her first project as a director, I thought now would be a great time to highlight her! So, read on, and enjoy!



Bonnie and cinematographer Jeanette Sears shooting a scene from her documentary, Out in Alabama.


Have you always wanted to be a filmmaker, or did you evolve into it? How did it come about?

I suppose, at some level, I always wanted to be a filmmaker. It was a childhood hope that I kept kicking aside as I lived the depths of Alabama, with no exposure to the film world.. Yet, here I am!  But, overall, it was an evolution sparked by intuition. After studying international business, doing a bit of traveling, moving to NYC, and gearing up for graduate school in development, I opted for an unpaid internship at The Moth instead. I had this aching feeling that my life-time profession needed to have an artistic backbone to it, as opposed to my previous jobs working in trade and politics. At the time, I felt uncertain what art form was the most compatible with my skills and figured all art was a bit of storytelling, so why not start there! Once I dove into the internship, then opportunities began to arise for me to produce–first theatre and literary events, then film. Specifically, how it came about was through blatant requests for introductions to people who might want to guide or mentor me. You never get what you don’t ask for… so I just started asking around and people offered to give me experience. Sometimes the experience was much trickier than I thought, but I just kept moving forward, following that achey intuition.

How have your expectations changed the longer you’ve been making art, and how has the art you’ve made changed?

Initially, because I trusted people to follow through with projects and ideas, I was generous with how long I would wait for their lead. After two years of being a freelancer, I realize that a lot of talk is, well, just talk. And that the best way to do the type of projects that interest me with the type of people I admire is to start them myself. Before, I felt like I was always supporting other artists and projects, and sometimes those projects ended up not being what I expected or simply failing to start at all. Of course, many projects did take off and I forever cherish those that changed my career. But, for the others, I took them as valuable lessons on gaging when to get the ball moving, even in another direction. I feel empowered to approach things in a much more direct way–which ultimately alters the art itself. It is much more hands-on.

What role does your day job (or jobs) play in your creativity? How has being a producer shaped your own work?

I am a full-time freelancer, so I choose projects that inspire my creative side and fuel further empowerment of others. Whether I am producing avant-garde theatre or putting together a period-piece short film, all of my projects are geared towards getting a message across in some way. Being a producer means that I see things in a macro-sense–full of longterm objectives and multifaceted collaborations. More than a producer, I have an entrepreneurial spirit. So, I am always thinking of how to make something as engaging as possible.

How do you balance making art and dealing with your everyday life, job, and responsibilities?

It is hard to stop working, when your profession is something you care so much about. The way I balance everyday life with my career is through the people around me. Friends, colleagues, and family. I try to surround myself with positive, good-hearted people who are also passionate about their own dreams. That way, we support each other in our different times of need. Plus, my boyfriend is an artist who understands the challenges of my work–while I understand his professional challenges as well. So, when I am overworked, barely eating, looking like a wild woman, he forces me to step away from my computer and go on a walk. His support, and the support from my friends and family, is important. So it is important for me to know when to use their support, and when to take a break.

What’s next for you?

Inspired by my life’s journey which you have somewhat experienced through the previous questions, I am currently fundraising for my documentary OUT IN ALABAMA–about the brave Alabama communities that embrace LGBT rights. As an Alabama-native, the project is dear to my heart and a way to spark a movement while also turning the stereotype of the South on its head. Additionally, the film is a focus on the individuals who support one another, as we are all shaped by those around us. If we get the funding we are seeking ($25,000) the documentary will serve as my directorial debut. And, with Academy Award-winning documentary filmmaker Cynthia Wade on board as consultant, I am hoping this film reaches a broad audience–with artistic recognition through festivals as well as social impact through inspiration.

So there you have it. Bonnie’s film is exciting and important, and needs your support! Crowdfunding is becoming an increasingly important way to get films made that you want to see. So, if this is the kind of doc you’d like to see, this is for you. Click the photo to check out the film on kickstarter! For more on Bonnie, check out her website!


Screen Shot 2014-04-07 at 10.44.45 PM

My best until next time,






Understanding The Work: The Cape House and Process.

28 Apr



A screen grab from an impromptu shoot for a film I’m making this summer.
Stayed tuned on twitter and instagram.

Hey there friends and followers,

Well, it’s spring, and with the beginning of spring comes the inevitable spring cold.

And with that cold has been a chance for me to sit and reflect. Something I hadn’t done in over a year. Well over that long, actually. Despite oodles of free time last fall, (owing to lack of employment), my mind was trapped on




I couldn’t escape any of this thinking. I had lots of time to think, yet the only thing I could think about was my failings and financial insecurity. Not the best place to create from, right?

So where did this need for a ‘feature or bust’ come from?

Let’s flashback a little more. January, 2013. I was finishing up film school, and didn’t have a clue as to what was next. I was advised by a professor to start working on a feature. This professor believed that you should have the next project ready-to-pitch. To me, the idea of doing another short was terribly unappealing. Why waste my time with that? Now I needed to be a feature filmmaker.

Thinking economically, I briefly considered ‘what in my life do I have that could make for an interesting location and story?’

My mind quickly came to my family’s house on Cape Cod. I dutifully sat down and sketched out a story. Within a month, I had a first draft that peopled liked and saw potential in. I wrote a second draft over the summer that even more people liked. Drinks were poured and everyone was excited about it!

I was ‘in development.’ I had a PRODUCER. Now came the time to start telling the world.

I started pitching the film all over the place: workshops, subway trains, loud bars after film events and screenings. To anyone who would listen, really. People loved the story of a man returning to his family’s vacation home and having to confront his past. They identified with the painful family dynamics and the issues of divorce and death in the family. I felt great. I was becoming a feature filmmaker.

Then the other shoe dropped.

I spent so much time talking about the film I forgot to keep working on it. I was squeezing writing sessions into tight hours when I wasn’t off talking about it. I networked like hell and got people interested and excited. I started a Facebook page. ALL OF WHICH IS GOOD, and I’m glad I did it.

But my head wasn’t in the movie. It was in the idea of making the movie. It was ‘playing at the thing’ instead of ‘doing the thing.’

Everytime I sat down to ‘write’ I just got distracted and looked on the internet, reading about people getting more work done than me, which is the equivalent of looking on Web MD when you have a headache.

I spent months avoiding the script. Why? Because I hated it. Because I had no ideas. I was bored with it. There were too many characters. Details I could see in my mind weren’t on the page. I was bored with the story of a ‘white guy finding himself’ and I was terrified that was all the script had going. The initial excitement of exploring personal themes in my life made me queasy. I couldn’t work on it, and I needed something else to think about, at least to make returning to the script more bearable.

I then came to a personal conclusion: I wasn’t being a filmmaker. I was a guy making one film, and I was barely making it. Sitting in a room and writing wasn’t enough. I had to be out, making stuff, channeling my energy and working. I need a constant workflow.  Paradoxically, This has helped me to think more clearly.

So what’s happening now?

Easy: I’ve diversified. I’ve just finished shooting a short piece on a painter friend. I’ve started teaching media classes. I’ve begun shooting a new film. I just had a wonderful meeting about it. Here’s a photo.


A big part of my process. Note cards on the wall.

I’ll be directing, shooting, editing, and probably exporting the film myself (with a great deal of help from friends). I also have another short film in the ‘thinking’ phase that deals with some of the issues explored above.

All of this is an attempt for me to remind myself why I love filmmaking. To remind myself that this is supposed to be fun.

And what’s going on The Cape House?

Good things, exciting things. I’m writing a new version of it that has a lot in common with my short film Purple. I consider Purple to be one of my better films, and it was definitely the most fun I’ve had making a film. I’m going to detail the process in an upcoming post, but until then, take a minute and give it a watch.

So, what’s the lesson I’ve earned? 

Make long term and short term plans. Be working on a bigger project, and let something you see inspire you to shoot a film next week, the next day, or at that very minute. Embrace it as a life style. This gets more accomplished than going from one project to the next. It keeps you moving, thinking, and creating.

I spent a long time being frustrated with The Cape House, but then the simple thought occurred to me: This is just part of the process.

So I’ll continue the film. What it is, and what will be, continues to evolve. The process is what makes it.

Thanks for reading.