Here’s a recent cover from @hollywoodreporter for an interview with @tatianasiegel that took place over 18 months, thank you @charlottehadden for the portraits @mrmay1 for the styles
Here’s a recent cover from @hollywoodreporter for an interview with @tatianasiegel that took place over 18 months, thank you @charlottehadden for the portraits @mrmay1 for the styles
Monochromes
Monochromes
Thank you @britishvogue for the dapper photo. Article is kind, but got some things wrong: I definitely never went pro – wanted to be but couldn’t even make the B teams, and hurt my knee not my leg, which led to acting in a play not writing for a theater group, but facts are boring, just look good in a post-truth world
1943 vintage passport photo by @jacklmealing shot on 4×5 Graflex
In 2005 I was invited to the Sundance Film festival to compete in the dramatic short competition. As my classmate Andrew Maclean and I sat for the opening night celebration at Eccles theater, just before Robert Redford stepped onto the stage, we looked at each other with a genuine sense of awe – how the hell did we manage to get here? Four years later I found myself at the same theater, introducing SIN NOMBRE to its first public screening. Getting into Sundance is every filmmaker’s dream. That film and the career I’ve had since is greatly indebted to the dedicated and passionate people at the Sundance Institute: from Ilyse McKimmie asking me if I had a feature script to submit to the labs; to my many incredible advisors there, such as Naomi Foner and Gyula Gazdag; and last but not least, Michelle Satter, the pillar of it all. One day I’ll be experienced and wise enough to return to the labs as a mentor to the next generation of indie storytellers. Until then… #Sundance40th @sundanceorg
In 2005 I was invited to the Sundance Film festival to compete in the dramatic short competition. As my classmate Andrew Maclean and I sat for the opening night celebration at Eccles theater, just before Robert Redford stepped onto the stage, we looked at each other with a genuine sense of awe – how the hell did we manage to get here? Four years later I found myself at the same theater, introducing SIN NOMBRE to its first public screening. Getting into Sundance is every filmmaker’s dream. That film and the career I’ve had since is greatly indebted to the dedicated and passionate people at the Sundance Institute: from Ilyse McKimmie asking me if I had a feature script to submit to the labs; to my many incredible advisors there, such as Naomi Foner and Gyula Gazdag; and last but not least, Michelle Satter, the pillar of it all. One day I’ll be experienced and wise enough to return to the labs as a mentor to the next generation of indie storytellers. Until then… #Sundance40th @sundanceorg
In 2005 I was invited to the Sundance Film festival to compete in the dramatic short competition. As my classmate Andrew Maclean and I sat for the opening night celebration at Eccles theater, just before Robert Redford stepped onto the stage, we looked at each other with a genuine sense of awe – how the hell did we manage to get here? Four years later I found myself at the same theater, introducing SIN NOMBRE to its first public screening. Getting into Sundance is every filmmaker’s dream. That film and the career I’ve had since is greatly indebted to the dedicated and passionate people at the Sundance Institute: from Ilyse McKimmie asking me if I had a feature script to submit to the labs; to my many incredible advisors there, such as Naomi Foner and Gyula Gazdag; and last but not least, Michelle Satter, the pillar of it all. One day I’ll be experienced and wise enough to return to the labs as a mentor to the next generation of indie storytellers. Until then… #Sundance40th @sundanceorg
In 2005 I was invited to the Sundance Film festival to compete in the dramatic short competition. As my classmate Andrew Maclean and I sat for the opening night celebration at Eccles theater, just before Robert Redford stepped onto the stage, we looked at each other with a genuine sense of awe – how the hell did we manage to get here? Four years later I found myself at the same theater, introducing SIN NOMBRE to its first public screening. Getting into Sundance is every filmmaker’s dream. That film and the career I’ve had since is greatly indebted to the dedicated and passionate people at the Sundance Institute: from Ilyse McKimmie asking me if I had a feature script to submit to the labs; to my many incredible advisors there, such as Naomi Foner and Gyula Gazdag; and last but not least, Michelle Satter, the pillar of it all. One day I’ll be experienced and wise enough to return to the labs as a mentor to the next generation of indie storytellers. Until then… #Sundance40th @sundanceorg
In 2005 I was invited to the Sundance Film festival to compete in the dramatic short competition. As my classmate Andrew Maclean and I sat for the opening night celebration at Eccles theater, just before Robert Redford stepped onto the stage, we looked at each other with a genuine sense of awe – how the hell did we manage to get here? Four years later I found myself at the same theater, introducing SIN NOMBRE to its first public screening. Getting into Sundance is every filmmaker’s dream. That film and the career I’ve had since is greatly indebted to the dedicated and passionate people at the Sundance Institute: from Ilyse McKimmie asking me if I had a feature script to submit to the labs; to my many incredible advisors there, such as Naomi Foner and Gyula Gazdag; and last but not least, Michelle Satter, the pillar of it all. One day I’ll be experienced and wise enough to return to the labs as a mentor to the next generation of indie storytellers. Until then… #Sundance40th @sundanceorg
In 2005 I was invited to the Sundance Film festival to compete in the dramatic short competition. As my classmate Andrew Maclean and I sat for the opening night celebration at Eccles theater, just before Robert Redford stepped onto the stage, we looked at each other with a genuine sense of awe – how the hell did we manage to get here? Four years later I found myself at the same theater, introducing SIN NOMBRE to its first public screening. Getting into Sundance is every filmmaker’s dream. That film and the career I’ve had since is greatly indebted to the dedicated and passionate people at the Sundance Institute: from Ilyse McKimmie asking me if I had a feature script to submit to the labs; to my many incredible advisors there, such as Naomi Foner and Gyula Gazdag; and last but not least, Michelle Satter, the pillar of it all. One day I’ll be experienced and wise enough to return to the labs as a mentor to the next generation of indie storytellers. Until then… #Sundance40th @sundanceorg
In 2005 I was invited to the Sundance Film festival to compete in the dramatic short competition. As my classmate Andrew Maclean and I sat for the opening night celebration at Eccles theater, just before Robert Redford stepped onto the stage, we looked at each other with a genuine sense of awe – how the hell did we manage to get here? Four years later I found myself at the same theater, introducing SIN NOMBRE to its first public screening. Getting into Sundance is every filmmaker’s dream. That film and the career I’ve had since is greatly indebted to the dedicated and passionate people at the Sundance Institute: from Ilyse McKimmie asking me if I had a feature script to submit to the labs; to my many incredible advisors there, such as Naomi Foner and Gyula Gazdag; and last but not least, Michelle Satter, the pillar of it all. One day I’ll be experienced and wise enough to return to the labs as a mentor to the next generation of indie storytellers. Until then… #Sundance40th @sundanceorg
In 2005 I was invited to the Sundance Film festival to compete in the dramatic short competition. As my classmate Andrew Maclean and I sat for the opening night celebration at Eccles theater, just before Robert Redford stepped onto the stage, we looked at each other with a genuine sense of awe – how the hell did we manage to get here? Four years later I found myself at the same theater, introducing SIN NOMBRE to its first public screening. Getting into Sundance is every filmmaker’s dream. That film and the career I’ve had since is greatly indebted to the dedicated and passionate people at the Sundance Institute: from Ilyse McKimmie asking me if I had a feature script to submit to the labs; to my many incredible advisors there, such as Naomi Foner and Gyula Gazdag; and last but not least, Michelle Satter, the pillar of it all. One day I’ll be experienced and wise enough to return to the labs as a mentor to the next generation of indie storytellers. Until then… #Sundance40th @sundanceorg
thank you @orlebarbrown for the shorts, otherwise I would have been naked
