Amber Coyle [Interview]

It’s still all about the women, folks! And we are wrapping up our second week with another amazing showcase. What makes this one different though? Well, we are moving a bit in front of the camera as well this time with actress/model Amber Coyle. She is a hilarious woman who has worked diligently to establish herself in this business, and will soon reap all the rewards she has earned. And damn it all, if she isn’t working behind the scenes as a writer of original content, most likely knowing full well that if you are to succeed in this game, you have to do it for yourself.

Amber has recently developed a pilot, featuring an ALL FEMALE cast and crew, which if you have been paying attention for the last two weeks, we are HUGE fans of. Coyle is a woman who has proven herself to not only be a beautiful on screen actress, but a lovely person in all aspects of  her life, and we are so excited to see where she goes and to follow her career that appears to only be moving up. To be young in Hollywood these days can not be easy (from an outsider’s perspective) but Amber seems to have that town by the reigns and will soon be pulling in more than the world can handle. And we here at Trainwreck’d Society think this is a damn good thing.

So, ladies and gentlemen, please enjoy some great words with the amazing Amber Coyle!

When did you first realize you wanted to be a person who plays pretend on screen for a living? Growing up in Texas, was it always something you aspired to do? What are your earliest memories that led you to the world of acting?

I loved theater as a kid, especially in junior high! I went to speech tournaments performing lip sync routines and improv. I was in every play including the Pink Panther Strikes Back playing Olga, the Russian spy. And one of the witches in The Wizard of Oz (yes, there was more than one witch in the play). I also went on a New York trip with our Thespian Troupe, visiting Juilliard and watching Broadway plays. That really set off the dream. I was having wayyy too much fun!

You have had some extensive training in the world of sketch comedy. What drew you to this world of comedic storytelling specifically? Was it just further practice, or your true aspiration?

I realized in my teens that I had way too much energy, probably classified with ADD and hyperactivity, LOL! I sometimes disrupted class, loved to be the center of attention, and always tried to make everybody laugh. I guess I just enjoyed expressing myself through comedy, escaping from the dramas of reality. I was even awarded “Class Clown” my senior year. I thought I was pretty good at it, and many people (not just family and friends) who have crossed my path have reiterated that to me over the years. It eventually solidified in my soul! I knew it was my calling. My dad really wanted me to go to college and get a degree, which I did. But then I set myself free and said, “That’s it! I am following my dreams! Goin’ to Hollywood!”

You’ve also done some great work in the world of stand up, which we are also very big fans of as well. How has this experience been for you? Have you found audiences to be receptive to your style of comedy?

Stand up is definitely one of the hardest things in life to do, and in my opinion its a great achievement- even if you’ve only done it once. It is the most vulnerable thing one can do. I was encouraged by a few well known comedians I had met. I just wrote down what I thought was funny, worked on it until I felt I had something solid. I went up at the Hollywood Hard Rock Improv in FL for the first time ever. It was a full house, and I was nervous as shit! But that 5 minutes flew by and I had them laughing loud! That is the best feeling in the world! But I have learned, not every high is that high- there can also be some lows. You can tell the same jokes to a different crowd and they will react differently. Its a lot about the energy. But thats how you grow, so its important to go through the motions. A lot of my material was very “blue.” Feedback would either be something like, “Whoa! I was not expecting that to come out of your mouth. That is awesome! I like how you keep true to yourself.” Or it would be, “Girl, you gotta clean that up if you want to go on tour or be on a network show.” Everyone has their opinions. You just have to know that you cannot please everyone in world, someone will always find something to complain about. But as long as you’re being yourself and doing what you think is funny (without being mean or hurting anyone of course) then that’s all you can do.

I have heard some great feedback about Buzzfeed Motion Picture’s comedy series, Up For Adoption. What has it been like to work on such a hilariously bizarre project like this? What was it like to bring the work of the brilliant Quinta Brunson to life?

It was great working with Quinta. Honestly, the whole experience was probably the most rewarding, and I learned a lot. Shooting 10 episodes in less than a month was tiring. But for what I am trying to do in Hollywood, it was exactly what I needed and in the direction of where I want to go. I am so grateful! I didn’t think I would book a mom role at all. I thought I looked too young to have two teenagers. They asked my age and liked the fact that I was a little older but looked younger. I have never been married or had any kids, so I was shocked to find that I landed the role of Tanya. The girls who played my daughters, Tess and Teagan made me laugh everyday. Those girls are hilarious and super-duper talented! Quinta is younger than me and she has accomplished so much. I am so happy we got to work together and share this experience. She has an artists mind. She knows exactly what she wants and she goes for it, no bullshit, Philly style! Her character is the most hilarious. Verizon Go90 bought the series and Quinta told me she did not even want to put herself in the project, but Verizon said, “No, we want you in it!” She made me laugh A LOT with Michelle. But Quinta as a person is very serious, and I respect that. I am praying for a season 2!

I understand you have recently also appeared in the hit comedy series New Girl, alongside re-occuring guest star Meghan Fox. How was this experience for you? Was it as fun to shoot the film as it is for an audience to watch it happen?

Shooting New Girl was quite the experience for me. When I auditioned, the role was a co-star with no lines. But for the auditions sake, they gave us some lines. They booked me and I literally prayed for lines for days. I couldn’t sleep the night before the shoot and I got an email at midnight from FOX with an updated script and thank the lord, I got some lines!!! I was so stoked, I got no sleep, LOL. I had my own trailer, everything was nice. Jake Johnson shook my hand before the scenes started and introduced himself. Megan however, did not do so. We went straight into the scene cold! That was a first for me. Usually you at least say hello before you work with someone. But we got through it, and later ended up chatting. It was a lot of fun. When it aired, we learned some of our lines were cut. But it was still a really great scene and so incredibly happy to be a part of one of the most successful sitcoms!

And be honest….is Jake Johnson even more adorable in person? Was it terribly hard to not get lost in those puppy dog eyes of his?

Jake is the man! He is really, really a talented dude! He liked to run through our lines each time before shooting to make sure everyone was comfortable. He also threw out some improv. And very impressive- the large amount of dialog they threw at him last minute, was nooooo problem! He is FANTASTICAL!

In the long run, what would you say is your ultimate goal as an actress in the world of film and television? What are you most yearning to accomplish in your career?

Right now I am working on a project of my own with a few friends. We wrote a TV pilot. All female cast (lead), female director, and working on getting an entire female crew. We will be shooting that this year then pitching. It would be a dream for it to be picked up by a network or even some type of new media platform. But aside from that, my dream is to book a series regular on a sitcom with longevity. Think Golden Girls, one of my favorite shows of all time. They were the original Sex in the City! Every actor has a thirst for not only success, but a consistent income! The struggle is real. Look, I am not trying to be Angelina. I want to get paid for doing what I love. I LOVE comedy! I want to work on feature films as well. And guest star on SNL!

What was the last thing that made you smile?

My cats. Thats right folks…crazy cat lady! HAHAHA!

Ellie Kanner [Interview]

Ellie Kanner
at the World Premiere of “For The Love of Money,” Writers Guild Theater, Beverly Hills, CA 06-05-12
David Edwards/ 818-249-4998

We are moving right along with our Women of the Present Month here folks with another fantastic interviewee who is working diligently behind the scenes! Today we are talking with the amazing director and former casting agent phenom Ellie Kanner! As we try to hit as many gears in the machine that is show business, I realized we haven’t actually featured a casting agent and was very intrigued to find out what that part of the business is all about. And it turns out that we found one of the best in business who was so kind to tell us all about it!

Kanner was a casting agent for hit series like Sex and the City and Sabrina the Teenage Witch, which are obviously classic television shows, but I kept seeing her name pop up because of a couple of projects that I still love and adore like Rory Kelly’s 1994 masterpiece Sleep With Me, and the short lived but brilliant series Two Guys, A Girl, and A Pizza Place. And when she moved behind the camera as a director, even more amazing credits starting rolling in, like the highly underrated 2012 gangster flick For The Love of Money, and the 2014 comedy Authors Anonymous. And the list goes on and on.

Ellie is a woman who has staked her claim in the world of film and television, and should serve as a real inspiration as to what women can accomplish behind the scenes, if we could only move forward and give them more of a level playing field. That’s not too much to ask, right? Remember folks, it’s not about superiority, it’s about equality. Alright, jumping off the soap box, and right into the wonderful career of the amazing Ellie Kanner!

When did you realize you wanted to join the world of arts and entertainment? Was it something that started at very young age, or did you just sort of fall into it?

I grew up in CT and loved watching television and movies. Our town was so tiny we didn’t have a movie theater so when we went to the theater it was a big night. When I was 10 years old I told my family I planned to move to Los Angeles to be an actress. When I arrived here I didn’t know anyone. I cold called talent agencies and ended up as a receptionist at a small agency. My first week there I saw all of the pictures and resumes that they received and realized there were many people who wanted to be an actress more than I did. That’s when I decided to learn as much as I could as an agent and then pay attention to other people’s jobs so I could figure out what I could do. I always loved the idea of working in the entertainment industry. That was my dream.

For those of us who simply are not in the know, and very out of the loop…can you explain the responsibilities of a casting director? What are some of the most important aspects of the job, and how do you know when you have casted a film or television show perfectly? Is it an after thought of some kind?

The casting director works closely with the writer, creator, director and/or producer in helping this ’team’ to hire the best actors for their project. Each project is different in terms of their team but there is always someone the casting director is working for.

A CD suggests actors for specific roles and can be creative in changing the minds of the team by suggesting changing the gender or ethnicity of a certain role. There are many opportunities for a CD to be creative. The CD auditions actors on their own and then brings the best of the people they have seen, along with actors the CD has already worked with or is familiar with and brings them all to audition for the team. Sometimes it’s a process of elimination. You take the best from each casting session and then bring back actors to audition again to narrow it down. Sometimes you search for months for that one role that you can’t quite cast, until that one actor comes in and nails it. The CD’s job is to put together a puzzle. Making sure the actors all compliment each other, with their styles, looks, depending on the characters they are playing. The CD’s office runs these sessions and is also involved in making the deals with the agents who represent the actors and making sure everyone on the team has the appropriate information once the actor is cast. The team often wants to offer a part to a big ’name’ actor and that requires checking availabilities and talking to the agents and managers who represent them. The CD also needs to be on the lookout for new talent who could fit a role so it’s constantly watching tv, film, web series, theater, etc., and being able to spot when an actor is right for a specific role. When an actor has never done a certain type of role that you are casting you have to have good instincts as to whether they are capable of playing a part that is so different from what they have played before. Part of the CD’s job is to explore that and allow actors to show what they are capable of. I believe a well cast project can make or break it but of course, it always starts with the script. If the script is great and you cast wonderful actors to bring even more to it AND put together a team to execute it, you have a real opportunity for success.

What made you decide to jump behind the camera yourself to start directing films and television? And what sort of benefits do you believe you had in tow with so many years in casting under your proverbial belt?

My favorite parts of casting were working with the actor and then going to the set. I never wanted to leave. I watched many directors in casting sessions and while some of them were amazing, some I felt could give better direction or could communicate better with the actor. I thought I should investigate if it was something I could be good at. With that, I started studying directing. I read books, took classes, seminars, etc., but really the best experience was going out there and finding something to direct. I directed plays, sketch comedy shows and finally got an opportunity to direct a feature film. My casting experience has helped my directing in many ways. Obviously working with the actors in casting sessions helped me do the same on set. Working with the agents/managers as I did in casting has given me wonderful relationships to help my access to great talent. I love being able to direct actors who I only was able to cast in the past.

As a filmmaker, what do you believe is the most important aspect of a film? What are you most wanting to accomplish with each project you have been behind?

I believe the script/story is most important. The casting can elevate it. Truly, it’s a team effort. The director must have the vision and ability to communicate with the crew but if there is no team to implement that vision, there is no cohesive story. I always want to make a project that has an affect on its audience. If it’s a comedy, my goal is to make the audience laugh. If it’s a drama, I hope to move the audience emotionally. The best compliment I get is if an audience member tells me that the project either made them laugh or cry and stayed with them for a long time. If it also made them think differently about the subject matter or inspired some kind of change then that would be the icing on the cake.

How much progress do you feel is being made for women working behind the camera in several different fields? Do you feel like women are finally getting the respect in your business that they have always deserved? Or are some things still stuck in the past?

There has been progress but there is a long, long road to go. The awareness that has been raised is a very good start but people, both men and women, in my opinion, need to truly make change, not just talk about it. Everyone says they ‘want’ to hire women directors but sometimes they say it’s difficult to find ‘good’ ones. I don’t believe that. The only way to find out if a director is good is to give them an opportunity. Every director needs experience to grow and explore. There needs to be more programs that don’t just allow directors to meet with showrunners and don’t just have directors ‘shadow’ (observe) another director but these programs need to be restructured to allow directors to direct. There usually is a director/producer on most shows and if that person could guarantee a newer, less experienced director then there would be no risk to anyone. But, I don’t think this has happened yet and I’m not sure why.

If you were given the chance to bring the story of any influential woman in American history to the big screen, who would it be?

There are obvious women like Oprah who I think is one of the most influential women in recent history. Her story of struggle and triumph is inspirational. There are also many women who were ‘behind-the-scenes’ like the women in Hidden Figures who I would like to explore. The woman behind the successful man. I’ll have to think more about that!

What is next for you? Anything coming up that our readers should be looking forward to?

My web series, Dropping The Soap, is now airing on Amazon, iTunes, and Google Play so that’s my latest. It’s a behind-the-scenes comedy about soap operas which explores the lives of the actors. We discover the actors are just as insane as the characters they play. There’s also a deeper story about having the courage to be who you are and discover and live your truth. But, it’s funny. 🙂 I worked with Jane Lynch who was hilarious and the team who created the show, Paul Witten, Kate Mines and Mandy Fabian are some of the most talented people I’ve worked with.

What was the last thing that made you smile?

I smile all the time so that won’t be interesting but, the last movie I watched that made me laugh out loud was Bad Moms. Very funny!

Heather McDonald [Interview]

We are huge fans of stand up comedy here at Trainwreck’d Society. And specifically, we are huge fans of women in this world. The stereotypical “Boy’s Club” mentality is slowly breaking down in the world of stand up, and it is because of talented individuals like Heather McDonald. Much like some of the other female comedians we have had on the site, she is not funny because she is a woman, she is funny because she is FUNNY. And that is what is the most important aspect in our opinion. If you’re hilarious, you can make it if you try. The barriers put up around women in stand up are weakening, and we are so happy to watch them crumble.

So while we are celebrating Women of the Present this month, we just had to feature a female comedian to represent this world, and I believe we found the PERFECT woman to represent the world of stand up comedy in this showcase. McDonald is obsessively touring, host of a brilliant podcast, a great mom, and one of the main driving forces behind the success of the comedy talk show Chelsea Lately. She’s dynamite at her job, and we are so happy to have gotten some words from this crazy talented individual. So please enjoy a few words with the brilliant Heather McDonald!

What drew you to the world of stand up comedy? Do you have the traditional fucked up childhood that just made you naturally funny? Or was it something simpler?

I knew early on that I had a unique talent to make people laugh and was good with impersonations and imitations, but it wasn’t until a year after college graduation that I went to a class. The class taught me how to make my funny stories relatable to people who didn’t know me and that’s when I really decided to purse stand up.
I don’t think I have the traditional family story in the sense that from a very, very young age we would watch An Evening at the Improv and my Dad told me that I would be up there one day. Most stand-ups can say their parents weren’t encouraging but mine were very, very much so. They came to all my shows and brought their friends.

BUT I do ALSO have a fucked up family being that I come from a big Irish-Catholic family. I’m the youngest of five and I’m estranged from a couple of them… I get in depth about my family on my podcast Juicy Scoop with Heather McDonald on episodes 35-45.

What were some of your earliest influences? Where you a fan of comedy growing up? 

Yes I was absolutely a fan growing up. I loved watching I Love Lucy reruns but I also liked more adult themed sitcoms like One Day at A Time and Alice. They were mature, depressing sitcoms for a kid but I loved them. I would stay up late to watch Joan Rivers anytime she was hosting the tonight show. I would pretend I had homework and would sneak upstairs. I also loved Roseanne.

While I know, as a fan only, stand up comedy has always had a “Boy’s Club” feel, I can’t help but feel like women are simply KILLING it lately. And you are definitely at the top of your field alongside other brilliant females like Jen Kirkman or Emma Arnold. So, basically, what are your thoughts on females in comedy? Are we ever going to be able to drop the “female comedian” label? Is the comedy world progressing?

Yes, I think the comedy world is progressing and now is the best time to be a female comic. I think we have younger men to thank for that because they aren’t seeing it like, “oh she’s female so she’s a chick comic.” Men, like women, are going to comedy shows based on whether or not they find the comedian funny; not because of their gender, color or sexuality.

People are attracted to comics they relate to. So yeah, women are going to relate to me more than they would Louis CK. I don’t think there is anything wrong with marketing yourself as a “female comedian” when that’s who you are to the people who really like your comedy.

Do you have any good heckler stories you would be willing to share with us? How do you handle them?

I have been very lucky in this respect. Where I am now, it’s never like, “you suck” because the people who pay to come to my show like my comedy. The only ones I have to deal with are what I like to call,
“The overly supportive.” It’s usually a group of women who are so excited to be at the show that they get really drunk and turn into black women in church. Every time I say something it’s “go girl”, “Tell em sistah” or “Preach” … and I’m glad they are enjoying the show but it’s disruptive to my story and it annoys the audience. I don’t want to single them out but the club staff doesn’t always catch it. Usually I’ll just say, “hey thanks for the feedback…” and they get embarrassed and leave.

Between your stand up, books, show writing, hosting, podcasting, acting, etc. you just never seem to stop! Which is great for everyone! But, if you were only allotted the ability to do only one, what would it be?

Aside from being a great mother (wink), I’d focus on my podcast Juicy Scoop with Heather McDonald because I love doing it. I love how loyal my fans and listeners are. I like that I can connect with them without having to get on a plane and I can do it no matter how ugly I look or what I’m wearing. With the podcast, I get to make the decisions and create the content. With acting, the show has to be written, I have to be cast, I have to wait for a production schedule; with the podcast all of that is on me- it’s something I make happen. When I need to wait for other people to say yes, it makes it a more difficult endeavor. Third would be stand-up.

When you’re not working so diligently, what do you do for fun? How do you take advantage of your time with family when you’re off the road?

We love taking our two sons to the beach. We also like to mini golf, play scrabble and go to six flags Magic Mountain. I love hurricane harbor and all water parks. I’m that mom who goes on it all with their kids. They appreciate it. I also enjoy getting drinks and dinner with just my husband or with other couples. And of course I love a good girls night out.

Speaking of the road, what are some things you like to do to kill the time when you aren’t on stage?

I’ll often see a movie, go to a spa and get a massage. If it’s a cute city I’ll go shopping. I love to shop. I mostly only go to cute cities now because of the shopping. If there is something the town in known for, like a restaurant or museum or tour, I try to experience that. When I was in Buffalo NY I drove to Niagara Falls by myself. And other times I sleep until 12:30 in the afternoon.

So, what does the future hold for you? Anything you’d like to plug? Any shows coming up?

Juicy Scoop with Heather McDonald podcast is always available on ITunes with new episodes every Tuesday and Thursday.

My stand up and Juicy Scoop Live touring schedule can be found at

Check often as new dates pop up all the time. Were currently developing and entertaining ways to make Juicy Scoop with Heather McDonald or some version of it, into a TV show so even more people can enjoy what I do.

What was the last thing that made you smile?

This morning my son put on my sunglasses and imitated me.

Heather is certain to be coming to a city near you. Check out these dates for the rest of April and May:

April 22nd – Nashville, Tennessee @ Zanie’s Comedy Club

May 3rd – Vancouver, British Columbia @ Bitmore Cabaret

May 4th – Seattle, Washington @ The Triple Door

May 5th – 6th – Portland, Oregon @ Helium Comedy Club

May 12th – Atlanta, Georgia @ City Winery

May 18th – 20th – Grand Rapids, Michigan @ Dr. Grin’s Comedy Club

Check out for all updates and tickets!


Beth McCarthy-Miller [Interview]

We are continuing our unofficial Women of the Present showcase with an absolutely amazing interview with a truly inspiring female who has broken down so many barriers with her incredible skills and natural talent. This badass of a woman is the great Beth McCarthy-Miller.

For over a decade, Beth was THE director for what is arguably the greatest comedy series of all time, Saturday Night Live. Her professionalism and expertise shines through on the series, as well as the numerous television shows she has worked on to date. Seriously everyone, if there is a comedy series you love that has aired in the last 20 years or so, she has been a part of it. From shows featuring or old friends Scott Adsit and Kevin Brown like 30 Rock, to Parks and Recreation (also featuring our old friend Alison Becker!), she has been there for them all. We talk about a lot of them in our words with this fantastic director who has risen to the top of not only women in television directing, but in television directing as a whole.

Beth is an amazing and inspiring figure, and we are so honored to have her on the site today. So please enjoy some great words with the wonderful Beth McCarthy-Miller!

What initially drew you into the business you are in, and have had so much great success in? Was television always the world you wanted to be a part of, and what you aspired to excel in?

I loved TV when I was a kid, and we were not allowed to watch it too much, so I especially loved when I spent the night at a friend’s house and got to watch all the TV I wanted:) I wrote some of the assemblies we had in High School and most of them were comedic. I even wrote a spoof of Weekend Update when I was on High School. I was in plays as well, but I quickly decided I wanted nothing to do with being an actress my freshman year of college. I had grown up in a house where everyone LOVED music and I was no exception. My parents loved Big Band, crooners and loved Broadway musicals. I had 4 older brothers and 4 older sisters, so there was almost every genre of popular music being played in my house at any given time. I DJ’d all through college and majored in Radio, TV and Film, thinking I would go into hard news. I interned in news and decided it wasn’t for me. I was lucky enough to find out about an internship at MTV from my brother, Robert, and began working there in 1985, the summer I graduated from college. I was immediately hooked. It combined 2 of my favorite forms of entertainment: TV and music. I initially had no idea WHAT I wanted to do at MTV, but I just knew it was where I wanted to be. The next couple of years were happy accidents. I got a job being an assistant to the line producer at the studio that fall. I spent every day seeing the daily operations of a studio and MTV was a real factory of television. We shot every day, 5 days a week, doing everything from simple J wrap-arounds, to 1/2 hour shows and musical performances when an artist came by the studio.

I spent the next 2 years taking jobs for more money so I could stop waitressing on the weekends…no lie. MTV was a great place to get experience, but not a great place to make money :). So, when a job opened up to train as an Associate Director, I took it. When a job opened up to train to be an Associate Producer, I took it…and so on. But, when a full-time producer job opened up and I was about to take it, the 2 directors that I worked for sat me down and told me it was a mistake. They felt that I was going to make a great Director, and that I should hold out until a job opened up. They told me that I was next in line to get that job. I took their advice, and it was the best advice anyone has ever given me. My life and experience at MTV was invaluable. I learned so much from everyone I worked with and I was able to really get better at all of the mechanics of directing. I was directing all the time at MTV and I got to do so many different genres of directing. I did news shows, comedy shows, stand-up, music performances, interviews, and big live events on a regular basis. It was at MTV that I met Jon Stewart, directed his talk show and left with him when the show went into syndication. Jon is just so talented and so special, and I learned SO much about comedy from him. He is so smart and so generous and I was so blessed that our paths crossed. My time with Jon was a pivotal point in my career. I went to SNL after The Jon Stewart Show got canceled. I don’t think Lorne would have given me a 2nd look if not for the quality of the sketches that I had from The Jon Stewart Show.

Photo by Barry Goldenberg for

You had an amazing run on Saturday Night Live that lead to some of the finest SNL moments in their history. What was it like to be a director for a show like this? I’ve only heard of the organized chaos that ensues, is this true? Basically, what does directing a live show like this entail?

It is so hard to describe the incredible honor it is when Lorne Michaels offers you a job to work on one of the longest-running, most celebrated comedy shows of all time. It was the most exciting and terrifying experiences of my life. The show had been on quite successfully for 20 years before I stepped foot on it, and a large number of staff had been there for many years already; some since the first episode. So, it is impossible not to feel like a comedically large wrench being thrown into a very well-oiled machine. The first 4 months were really hard and I really felt like I would not make the whole first season. The saving grace is that there were SO many new cast and writers that we kind of felt like we were in it together and that helped so much. The show is such an unbelievable process and it is amazing that it gets pulled off every week. Every department is literally THE BEST at what they do…it would not get on the air if they were not. The sketches get written on Monday and Tuesday and the show gets picked on Wednesday night after the table read. Remember, there are more sketches picked than what you see on the air. We go into the dress rehearsal with 3-5 more sketches than what gets on the air. So, Thursday and Friday is rehearsing, building sets, making costumes, getting wigs, props, graphs, rewrites, and all the while, maybe writing a new monologue or cold open because one didn’t get picked or you are waiting for something that is happening in current events. (like a debate). Then, Friday night, I would spend half the night marking a script with every camera shot, cue, and element of the show in it. That script is what we all would start working off of on Saturday morning. Then, we would spend Saturday doing a run-through of every sketch and continually through the day getting changes and some rewrites. The evening starts with a dress rehearsal that can last over 2 hours, which is a full show with an audience. That show is done a little after 10P and then the process begins of picking the show for air. Once the show is picked, it is a meeting with notes and changes that you get out of around 11P or so. It is then a melee of set, costume, and script changes, notes galore, audience loading and all before going on the air at 11:30. One of my favorite things that Lorne always says about SNL is that we don’t go on the air because we are ready, we go on the air because it’s 11:30. There are several changes that happen all during the show as well. Sometimes, we make set changes and the AD is counting back from 10 and the furniture is being dropped into a set and the cast sits down literally 2 seconds before we come up on the air. Not every week is like that, but there are many weeks like that! SO…organized chaos is an understatement:) But, it helps create that magnetic energy that the show has every time you tune into it. And for the host, there is nothing else out there like it except for maybe opening night of a play? So, they do opening night of a different play every week!

Photo by Dana Edelson of NBC for

Without trying to sound to vague, I have to ask a question about something I have no idea about on several levels….What is it like to be a woman behind the scenes of television? Do you ever feel like a lone wolf in your industry?

You know, I have been extremely blessed in this industry…I have always had both male and female mentors that have always encouraged me and rooted for me. I was lucky to be at MTV during a time where everyone was figuring out what MTV was going to become. I learned so much there and my bosses, who were young themselves, were creative, and supportive and it did not feel like there was a direct hit on me for being a woman. Having said that, I was treated differently by various people, crew and bosses possibly based on being a woman and also for being young . I started directing when I was 25 and when I started directing some of the bigger shows a few years into it, I was 27 on set with several men who were older than me and had been around and were accomplished. I definitely had to prove myself and was looked at differently until they saw me work. I would also deal with most of that stuff with a sense of humor, so I think I won a lot of people over that way, but I have been blessed to have just as many supportive, wonderful people in my corner as those who were not. It is a bit strange that in 2017 there is still the discussion that there are so few women that direct. It’s crazy to me. I love that there is a conscientious effort to give more women and minorities opportunities to direct. There are so many wonderful women that are doing incredible work directing right now in comedy and drama, and I am a full-on geeked out fan of them!

In your expert opinion, how has the world of show business changed for women since you first began or now hugely successful career? Are things better?

I think that the industry has definitely opened up more doors to more positions for women over the years. I think things are better. There is also SO much more content being made that there are just more opportunities for everyone! I cannot believe how many channels make original programming now, never mind all of the streaming services as well. I think that TV has been in a bit of a renaissance. You see actors that normally do just film taking these boutique TV projects and getting incredible acclaim for them. So many creative people are thinking a bit outside the box and doing different types of programming that is allowing some exquisite talent to don TV sets and streaming devices. Binge watching has also changed the business quite a bit. It will be interesting to see what evolves over the next few years, but I am enjoying getting to see some fabulous actresses doing incredible work on TV in between their movie schedules.

You have also been the woman behind the camera for several comedy specials for some of the finest comedians in the business, from Jim Norton to Bob Saget to Dave Attell, the list goes on and on. What is it like to direct a comedy special? What are some things that go into filming a special that the average viewer may not be aware of?

Directing comedy specials are a BLAST!!! Especially when it is someone who you are a fan of or love! The real trick to directing a stand-up special is all about rhythm. Every comedian has a style and rhythm to their comedy, and if you can get into that rhythm, directing the cameras becomes almost easy. I spent a lot of time with Jon Stewart in my younger years and we did a talk show together. When I did his HBO stand-up special, I knew the rhythm to Jon’s delivery so well by then, it was easy for me to direct the special. It was a process to decide the look of it and come up with all of the aesthetics of the shoot, but once we went live on the air, it was all about rhythm. When I don’t know a stand-up’s work as well, I really love to go see them perform a few times and watch tape of them because it really helps me see the rhythm, cadence and structure of their joke telling. It also helps me get familiar with the material so I know when it’s about a facial expression, or a big physical move, or a dead stare to punctuate the joke. All of those things enhance the performance if you can nail it on camera. But, the hard thing is to not start laughing and get caught up in the show. That has happened to me more than once! You start enjoying the show so much that you lose your rhythm a little. Jon, Dave Attell, Chappelle and Wanda Sykes made me laugh so hard at certain points that I forgot I was working for awhile:) There have been so many more that made me laugh really hard during the show that it is hard to stay focused. I love seeing the different styles comedians have and how their particular delivery really enhances their jokes. Daniel Tosh was so much fun to watch how his pauses and style add to his jokes and of course Jerry Seinfeld could read a phone book and make me laugh….

In the last few years, you have managed to direct for a plethora of some of the best television shows of our time. I would love to ask you about every single one, but I know you are a very person and don’t want to hold you up, so I will just specifically ask about one…Unbreakable Kimmy Schmidt. I adore this show, and feel like it is a true inspiration in regards to women in the world of entertainment. So, how was your experience on this show? Was the making of the show as fun as it is for us to watch it?

Well, I would follow Tina Fey into a burning building carrying Robert Carlock on my shoulders, so doing that show was a no brainer. I was such a fan of Ellie’s and she had done some stuff for me earlier in her career, so I was SO excited to work with her again. And, what can you say about Titus??? Ridiculously talented and incredibly funny. It was an absolute thrill to work with Carol Kane, a comedy legend and I love anytime I get to work with Jane. That show helped me get through mourning the loss of 30 Rock. It was a lot of the same players and crew, so that was like a bit of a reunion. That show is so brilliantly crafted…well written and superbly acted….it is easy to come along for the ride. I love getting those scripts because I literally laugh out loud while reading it. It is so much fun to shoot those episodes. I just did one for Season 3 that is terrific, written by Tina, and guest starring the fabulous Maya Rudolf. It is spectacular:)

When you look back on your amazing career thus far, what would you say you are most proud of?

I don’t know how amazing it is, but it is hard to point out one particular thing. There have been certain hurdles that I have jumped over in my career that I am amazed I got through with little scarring…the 1st SNL I directed, the live 30 Rocks, The live Sound of Music, The Superbowl Halftime Show. I am really proud of the work I did in my early years at MTV like Unplugged, The Jon Stewart Show and some of the Video Music Award shows I directed. I am really proud that I survived SNL and lived to tell the tale…I really loved the live 30 Rocks and was unbelievably honored to be asked to direct the 1 hour series finale. That meant so much to me and the show was incredible. I was really proud of the way The Sound of Music Live came together and was so thrilled to work with all of those incredible artists. I tried really hard to make that seem filmic and it was exciting that it spurred so many other live events like it. I think that the 9/11 telethon that I did just a few days after the towers fell was one of the most heartfelt and heartbreaking things I have ever been a part of….and I am proud that it was beautiful, poignant and extremely successful in raising funds for all of those lives who were affected. I am hoping my most proud moment is yet to come!

What is next for you? Anything we should be looking forward to in the near future?

I am knee-deep in pilot season. I am shooting one right now fro Melissa McCarthy and Ben Falcone’s company for Fox and right after, I am doing another one for ABC. So, I am REALLY tired:) Just kidding…it is all good and I am so excited about both projects. They are really funny scripts! After that, I am shooting a few other things like an episode of Divorce for HBO and The Good Place for NBC until the middle of June and then it’s summer vacation!!! My husband is a school teacher so we preserve that time to all be together.

What was the last thing that made you smile?

My son’s school has a talent show every year and I asked my 11 year old if he wanted to participate. He first said no and then he said maybe. I asked him if he wanted to sing (because he actually has a great voice) and he said “no”. He told me that maybe he would tell jokes because “you know Mom, everyone at school thinks I’m pretty funny”. That made my heart happy to know that he appreciates humor like I do:)

Gaby Chiappe [Interview]

Photo by Lizzy Coombes

At times we tend to stumble upon some amazing interview opportunities that we just weren’t expecting. When we announced that we were looking to a bit of a celebration of women behind the scenes, a wonderful person was bestowed upon us as a possibility to be featured on the site. Not only because she is a perfect representation of women in the industry, but because she is an extremely talented individual with some great stuff coming up.

Gaby Chiappe is a screenwriter from our (new) side of the pond out here in the UK. She has written for the acclaimed series EastEnders, and so many more in the BBC world. But, what we are most excited about is her work on the upcoming film about a British film crew who attempts to boost morale during World War II by making a propaganda film after the Blitzkrieg called Their Finest. Chiappe was behind the screenplay adaptation of Lissa Evan’s wonderful novel, and from what we have seen thus far, it is going to be one of the finest films of 2017, for sure.

And, as we will mention below, this is a revolutionary type of film simply for how it is being made. It is written by, directed by, acting fronted by, and from a book written by….women! And to top it all of, they are all DIFFERENT women. And even more of the crew are women. It is an incredible showcase of the wonderful talent that is available in the world of film and television. Therefore, we are so proud to have Gaby featured in our Women of the Present showcase. So please enjoy some great words from the amazing writer, Gaby Chiappe!

When did you first realize that you wanted to write for a living? What were some of your earliest inspirations?

I loved stories as a child – however they were delivered – TV, film, books. … I read voraciously (and without much discrimination!), and I spent an awful lot of time making up stories in my own head – but what I really wanted at that age was to be an actor, because that seemed the most perfect way to disappear into a story. Then when I was older I thought I wanted to be a novelist – novels were what I knew, it didn’t occur to me that the films and TV I watched were also written. When – due to a lot of luck and some happy accidents – I discovered screen-writing, it made sense of everything I’d ever been interested in – a raveling together of all these separate threads I’d been pursuing.

I am actually a very recently transplanted American living in England, and am fairly new to some of the concepts of British television. So, in your obviously expert opinion, why do you believe the length of so many shows coming from BBC and the like are kept to only a few seasons, rather than milking it for all it’s worth as we would do in the states? Do you believe this works better for everyone?

I’m really not an expert! And I don’t know enough about how American shows work, but I think the resources available to develop those shows in the US is much greater than in the UK and that has an impact. We do have shows that return again and again and stay strong – but they tend not be on the scale of their US counterparts, maybe six or eight episodes a season as opposed to thirteen or more. From what I hear about writers’ rooms in the US, you have a large number of heavily-resourced writers working collaboratively with a show-runner to break stories over a large span of episodes. With the best will in the world, no one has the money over here to fund that kind of system. I don’t think it impacts on quality – both systems can produce great shows and poor shows, but it does mean that in the US you can produce more episodes, more quickly.

Can you tell us a bit about the upcoming film that you wrote and is set to be released this month  entitled Their Finest? What can the viewer expect to embrace and be thrilled by?

Their Finest is an adaptation of Lissa Evans’ novel Their Finest Hour and a Half. It’s about the making of a morale-boosting film in the UK in the early part of the second world war – the film starts during the Blitz. It’s also about a young woman (Catrin) growing into herself – dealing with the daily grind and fear of life during wartime, but also unfurling to fill the space and opportunities this rapidly-changing world is giving her. Gemma Arterton gives an amazing performance as Catrin, she’s got this quiet core of strength and self-respect which blossoms through the course of the film into a new kind of confidence and a conviction of her own worth. Like Lissa’s novel, the film is funny and moving and surprising – it’s also beautifully acted and directed.

One of the characters in the film, (Buckley, a screen-writer), says that a film needs to be worth both the money and the time someone has given up to see it. What I hope is that people come away feeling exactly that – that it was more than worth it.

Their Finest is also a film that was a book written by a woman and then adapted by a woman, directed by a woman, and has a woman as the lead role. And all four are NOT the same person! That is incredible! In your personal opinion and as someone involved, what do you believe these facts added to your lovely story?

Btw – The editor and composer are also both women – as is one of the two producers.

I can honestly say, I never thought about it – it’s my first screenplay, I didn’t have anything to compare it to. It’s only when people tell me this film has an unusual number of women involved that I realise it’s not the norm. And because I have nothing to compare it to, I don’t know what the alternative would have been. All I know is that it was an incredibly happy working experience for me.

Their Finest Hour and A Half
Directed by Lone Sherfig

With a career spanning a solid couple of decades, how do you feel the role of women has changed in the world of British television writing? Are women finally getting the respect they deserve, or is there still a sort “Boy’s Club” feel going on?

It’s an interesting question…. I think there are probably still more male writers than female writers who are considered A-listers – but I would be interested to know how many writers who actually make a living are male and how many are female, and also whether there’s a difference in the kind of TV they’re commissioned to write.

Their Finest Hour and A Half
Directed by Lone Sherfig

And when you look back on your amazing career, what would you say you are most proud of?

Oh, there are quite a few things I’m proud of! To see my first screenplay made still feels extraordinary. I am also very proud of work I did on Shetland (BBC) The Level (ITV)….

And the first episode I ever wrote of Eastenders made me very happy…

But maybe just as important are the things I wasn’t proud of – there have only been a couple, but I know that I never, ever want to be watching something again and think ‘I could have done better’. It’s a really grim feeling.

What is next for you? Anything else we can look forward to in the near future?

I’m adapting Dark Matter by Michelle Paver for Amanda Posey and Finola Dwyer at Wildgaze films (Amanda is one of the Producers of Their Finest). It’s another fantastic novel but very different from Their Finest. It’s a ghost story set in the Arctic – three men alone in a cabin as the polar night begins. It’s beautifully written – moving and pared down, and very frightening.

Their Finest Hour and A Half
Directed by Lone Sherfig

What was the last thing that made you smile?

The fact that it stayed sunny all weekend – in Yorkshire, at least.

Check out the trailer for Their Finest, in theatres soon!

Rose Ganguzza [Interview]

So, last month was the official “Women’s History Month”. And we didn’t really chime in too much. In fact, we mostly talked about a video game. There were women involved with it though! Some damn fine ones too. And then we promptly did a week of white dude writers. And truthfully, we are not ashamed. But, we do want to take some time to focus on some of the amazing females working so damn hard in the entertainment world. Because for us, there is no “Women’s History Month”, because in our world, women are everywhere, and are always doing amazing things. Sadly, our world is not a real as we would hope it to be. So with that, we are continuing the celebration of women here in the month of April, where we are going to celebrate some amazing women working in all sorts of different aspect of the world of film, television, music, and more. And we have a damn fine one for you folks today!

In the world of independent cinema, Rose Ganguzza has been called “The Godmother of Young Filmmakers”. And this would a very accurate title, as she has helped kickstart the careers of some amazing filmmakers, simply by believing in them. And by knowing what makes a damn fine script, which will make a damn fine movie. She has worked with our new friend Sean Stone, so you know she has an eye for talent. She also produced the film adaptation of one of the most bizarre events to ever hit the world of literature, featuring a group of characters who had no idea how greatly they would impact the world of modern literature. I am talking of course about the film Kill Your Darlings. If you haven’t seen this film, first of all – shame! Second of all, you have to see it. Do yourself a favor, read the book And the Hippos Were Boiled in Their Tanks by Jack Kerouac and William S. Burroughs, and then watch this insane story come to life in the Rose Ganguzza produced modern classic film. You will not be disappointed.

I truly believe that Rose is the perfect woman to kick off what we are calling “Women of the Present Month”. She is a real powerhouse in the world of film, and has earned the right to be so. And we are so happy to have her join the Trainwreck’d Society family, and thankful she was willing to share a few words with us. So with that, please enjoy some words with the amazing producer, Rose Ganguzza!

How did you find yourself in the business as a producer of some very amazing films? How did you start in the business? And was producing always a passion of yours?

I always liked storytelling and as an undergraduate I majored in English Literature. But by the time I got to Columbia, I was given a fellowship for international affairs, so my reality was diplomacy and my specialty was third world countries.

After I graduated I went to work for the Brazilian Government in trade promotion and soon realized that major multinational companies and banks working in Latin American were not able to repatriate their profits. What I came up with was a way to create debt equity swaps for American movies being filmed in Latin America. This also later led to me doing barter syndication in Latin America for Jim Henson.

What are elements of a project that really speak to you as a producer? I imagine marketability is a thing, but how do you know as a producer when you have found a project that you know you can get behind 100%?

I have a strong marketing background so before I take on a project I think of how it is going to be marketed and who is my audience. Of course, for me, the most important thing is the script and the story. If it is not on the page it is not on the screen.

The art of good storytelling is key. There is no point in the amount of work we have to do to make a film if the material is not of a high level.

I have to ask you about Kill Your Darlings, which was about a time in history that I was very familiar with, and was not let down when seeing it come to the big screen. What made you believe in this project enough to back it? Were you a Beat fan prior to working on the film?

I graduated from Columbia and was particularly drawn to this story as part of the history of my alma mater. The fact that the story had been hidden for so many decades because of the details of Lucien Carr’s case intrigued me.

I am also a student of the history of the 1940s and was drawn to wanting to recreate the period. I also liked telling the story of these young poets before they became famous, when they were just students, having to deal with all the challenges that young people face in every generation. There is a commonality in those challenges.

What are your thoughts on the current involvement of women in the world of filmmaking and film production? Does it seem that the barriers of the “Old Boy’s Club” are being let down at all? On the surface, it feels like we are seeing more women doing amazing things behind the camera, but it’s hard to believe that the gender gap is dissipating, as it has been so detrimental to great talents of the years. So, what are your thoughts on the matter? Are women finally getting the respect they deserve?

I think that women are rocking our industry. In every area of our world women are making their mark behind and in front of the camera. This shift allows us to tell more great women’s stories as well.

My feeling has always been that no matter what your gender you have to work really hard to get the things you want in life.

So, in my mind, it is determination and talent that gets you to the top.

Who are some of your favorite female filmmakers and writers working today that you feel should be receiving much more attention in this world than they currently are?

I am a huge fan of Reed Morano who started as a brilliant cinematographer and is now getting much deserved attention as a director. She is strong and enormously talented.

What would you consider your dream project that you haven’t yet brought to life? 

I have a script that I love called Mary Shelley’s Monster about the haunted summer of 1816 and the Romantic Poets. It is told with Frankenstein’s Monster being Mary’s dark passenger throughout her life, who survives way beyond her death. I love the aspect of the sex, drugs and rock ‘n roll of the early 1800s and that movement which was a precursor of the Beats and the Hippies etc and produced some of the greatest literature of all time. Just in that one summer, we got Frankenstein and Vampyre, the first Vampire novel.

What do you have coming up that you would like to tell our readers about?

I am producing this spring a film based on a script written by Julian Fellowes. It is about a 16 year old Louise Brooke coming to New York in 1922 from Wichita, Kansas with her chaperone. It is called The Chaperone.

In the fall, I am doing a film called Poms with Diane Keaton, about a cheerleading squad in a retirement community.

I am now filming the movie Fatima, about the 1917 Miracle which happened with the three children in Fatima, Portugal.

What was the last thing that made you smile?

I smile every day at the wonders of life.

Alan B. McElroy [Interview]

Our unofficial week of writer celebration is ending! Of course, it will always reappear since, as we have mentioned in the past, we LOVE writers. The storytellers are our favorite part of the world of entertainment. And today we have another damn fine storyteller. Alan B. McElroy is the creator of some of the finest work in the world of horror, action, and more. In fact, he is the man behind the creation of a series that we have written about several times on this site already. That would be the Wrong Turn franchise. We have had writers, directors, and actors alike from several different sections of this franchise. But, now we have the big boss man himself!

Alan also happens to have played a major part in the creation of one of my favorite comic book adaptations of all time with his work on the film and animated television series adaptations of Spawn. And of course, his credits just stack up on top of themselves until they create a tower of excellence that simply demands your respect. From films like the film adaptation of the video game Tekken, to the John Cena vehicle known as The Marine, this guy has done so much outstanding work it’s almost too much to talk about. But, dammit we will try!

So ladies and gentlemen, Alan B. McElroy!

You wrote the original story of a horror franchise that has made several appearance on this site over the last few years – the wonderful Wrong Turn. How did you come up with such a brilliantly scary story?

Hi Ron, great to meet you via email and thank you for your interview request. We writers are often left unrecognized in the the industry. You’d be surprised how many people say to me “Oh, I thought the actors just made up their own dialogue! You mean someone writes it all down for them?” Yikes!

Anyway, to your question. The idea for Wrong Turn came from a couple of sources. First, it’s basically Goldilocks and The Three Bears. The original idea was for a short film I’d planned to write and direct called Blur about a bank robber named Avon who, while escaping town with his loot, runs into car trouble and has to detour through nearby woods on foot. He comes upon a cabin that belongs to the three mountain men and hijinks ensue. Secondly, while driving to New York at night, my wife and I ran into a major traffic jam. When we asked a nearby trucker how long the jam might last, he said it could be eight to twelve hours. We decided to check the map and detour around the traffic jam – and suddenly we found ourselves on unfamiliar back roads at night in the middle of nowhere. We both thought, what if we have a flat tire? We could die out here and no one would know where we are or what happened to us. The last piece came together while driving with my wife and kids down to Disney World from Ohio. We drove through the West Virginia mountains and everything felt so remote and almost primordial. That’s when it all came together. I pitched the idea to a producer friend of mine and he said “You should add more characters so you have some kills, and call it something simple, like “Wrong Turn.” There you have it.

And what are your thoughts on what the franchise has become? Is there anything that you believe sets Wrong Turn apart from so many other franchises?

I have to admit that, beyond my own, I’ve only seen Wrong Turn 2. I’m not sure where the series has gone since, but I’m guessing there’s been a lot of death and cannibalism. I can only say that what may set it apart is our natural fear of becoming prey. The idea of being consumed by another living thing seems to terrify each of us on a primal level. Jaws remains popular because we fear being consumed by sharks. Jurassic Park remains popular because we fear being eaten by dinosaurs, even through dinosaurs no longer exist. As to Wrong Turn, we all have an innate fear of our fellow man because we can never fully know someone’s intent toward us. We fear that within those closest to us lurks a deeply hidden ugliness that seeks to “consume us” on some level. Cannibalism becomes a metaphor for ultimate betrayal by our fellow man.

One project you worked on that I know my readers would kill me if I didn’t ask about would definitely be Spawn, both the film and television series. How did you come to work with fellow legendary writer Todd McFarlane?

I got the job because I’d written a screenplay called Bat Out Of Hell about a guy who escapes from Hell and the devil sends three badass bounty hunters after him. The tone was on point for what New Line wanted for Spawn. I met with Todd and the director and pitched them my take for the script. As always, things are changed along the way, but I really enjoyed working with Todd and getting to go up to ILM and meet many of my SFX idols.

What was great about the HBO series was getting the chance to really write it in my own voice and drop in ideas that didn’t make it into the movie. Often when people come up to me and say they weren’t happy with the movie, I tell them to check out season one of Spawn the animated series.

Long time fans of the Spawn comics, films, etc. know what sets it apart from other stories. But, what about behind the scenes? What do you believe it is that makes Spawn and the fine folks like you behind this cult favorite so special?

I think at the time Spawn came out we didn’t have this type of anti-super hero. He’s a dark character back from Hell. He made a deal with darkness for love, but was betrayed. Now he skulks in the alleyways among the trash and the homeless. Spawn was everything that other superheroes were not. Also, he only had a finite amount of power, so everything he did came at a cost. That isn’t the case for other superheroes. In all aspects of Spawn’s existence he is paying a price. I think fans can relate to that. Daily we make choices and those choices have consequences. Spawn’s entire character is born out of his choice to be with Wanda…only to realize that the path back to love travels through a long, dark and deadly valley of redemption.

One of your earliest credits includes penning the script for Halloween 4: The Return of Michael Myers. What was it like jumping into such a well known franchise? Was it nerve racking at all? Where you previously a fan of these movies?

I am a huge fan of classic horror films and the early works of Stephen King. I am and remain a huge fan of John Carpenter. Seeing Halloween and Halloween II were great experiences for me. In college I had a picture from a magazine of Jamie Lee Curtis curled in the hospital room corner holding that .357 magnum outstretched in her fists. I loved that image. So when I got a chance to bring the Shape back I was ecstatic. The only issue at the time was that there was a writer’s strike on the horizon and I only had eleven days to write the script. It poured out of me and, except for some budget issues and creative choices by the director, what you see on screen was what I wrote. I think that’s why people like the movie to this day. Fans can feel my love for the material in the work.

When you look back on your illustrious career thus far, what would you say you are most proud of? 

My career has had its ups and downs. Screenwriting is a tough business and you have to have a thick skin. Most of my films have been rewritten by directors and other writers along the way leaving them painfully and woefully ill-conceived. They do the damage and I have to wear the scars. But that’s the business.

I’d have to say what I’m most proud of is that everyday I continue have a love of film and television. I believe that there are more stories to tell and great, wonderful, thrilling, terrifying, and life-affirming worlds to create. I have been blessed by God to have a very long and, knock on wood, successful career. But I don’t measure that success in box office receipts, but in the simple fact that I’ve been able to raise a family and keep a roof over their heads by telling stories, writing those stories down, seeing them turned into movies and television episodes. No 100 million dollar opening weekend can compare to that.

What is next for you? Any projects you would like to plug that we should be excited to see?

I have a number of projects brewing but nothing I can talk about just yet. I am always seeking new ways to scare and thrill people. Right now I’m trying to gain some much needed experience in television. I intend to create my own series and run my own show. To that end I am working on staff right now to learn the nuts and bolts of what it’s like being in a Writer’s Room, breaking stories, producing episodes, and watching show runners do their thing. I just worked on the final season of The Vampire Diaries which was awesome. Working with Julie Plec and the rest of the TVD staff was like being in a Master Class about series television.

What was the last thing that made you smile?

I laughed uproariously last night at episode 2 of Making History. I love all things time travel. On a more filmic level, I smiled through Logan. What a great character piece. And I smiled at the very end of Split. No spoilers, but anyone who has seen it knows what I’m talking about.