Adrew Bradford – new cinematography reel

Bradford” as he’s known to those closest to him is one of the gutsiest, hardest-working dudes out there. His vision behind the camera is magical.

I’ve had the opportunity to work on a few films with him, and I was even lucky enough to have him on board to DP my latest short film “Prelude.”

He recently dropped a new cinematography reel. You should check it out. Also, you should hire him. You won’t regret it.

Advertisements

Hello, 2018

2017 went out with a bang, and 2018 is already off to a strong start thankfully. At the end of last year, I put together an “overview” video talking about some of the projects I worked on as well as my plan to head out to LA for an extended trip this spring. You can check out the video here

Since traveling to LA and living there for a couple months is expensive, I threw together a GoFundMe campaign which you can check out HERE if you like. I’ve had a lot of friends and family ask how they could help out with my trip, and that’s where the idea for the campaign came from.

Depending on how my LA trip goes–who knows, maybe I’ll land a role that keeps me out there!–I plan to move to Atlanta in May. I’ve worked so much in Atlanta (and it really has become the Hollywood of the southeast), it makes sense that this would be my next move. I’ll miss living in Nashville, but I feel like the bigger markets are calling, and I’m ready to stretch my wings.

Onward and upward, friends.

BONES – short film

A short film I worked on over a year ago has finally hit the interwebs. BONES was a brutal shoot… long days… freezing our tails off… chasing those perfect blue hour shots…

But it paid off.

Director Matt Underwood and Beta Angarole invited me into the dark world that they created, and I was glad to accept the challenge of bringing such a twisted-up character to life. I made the decision early on to change physically for the role, and I ended up losing 11 lbs over 16 days leading up to filming. It was crazy how that decision connected me to the character on such a visceral level.

**graphic content. intended for mature audience**

Versorium – short film

Ryan Smith called me up a couple months back and asked if I’d be down to jump in on this project.
I love it when people don’t just talk about making stuff . . . they pull on their boots and do it.

If you find artists who put some bite behind their bark, befriend them; work with them; learn from them.
They’re the ones who won’t still be sitting in the same place five years from now.

A study in hats

As I was going back through pictures of past jobs, I noticed that some of my favorite roles included characters wearing some kind of hat (I’m including helmets and wigs).

Interesting wardrobe allows an actor to disappear into a character much more easily than when I hear “and can you bring a bunch of your own clothes for wardrobe options?” I realize that using your own clothes is part of the deal on a lot of low budget films, but I love it when a director has a vision for their characters that’s super specific. It tells me that they’ve done the work to honor their characters, and it puts me at ease.

Just something to ponder for you directors out there…

hats

Projects (left to right from top to bottom):
Popeye the Pizza Man
The Originals
Travis Manion Foundation PSA
Riffraff
House of the Righteous
Popeye the Pizza Man
Champion
Marine Corps training video
Burt’s Eye View

A look back

Two years ago, I was in South Carolina working with my buddy Justin Robinson on his latest short film “Popeye the Pizza Man.” It was an experience that left me drained. I put so much preparation into that role, and when the time finally came to step in front of the camera… I’m not gonna lie, it was hard. It was a hard film to do. Not just for me… for Justin as he wrote and directed, for the other actors, for the crew. It was heavy. It was dark. I’m thankful for the splashes of comedy sprinkled through it, because when I go back and re-watch it, I tend to forget how heavy the whole thing was.

Not long before filming, Justin emailed me and said he wanted to give my character, Lewis, a little more depth. He wrote this monologue at the tree house and sent it to me. Man, reading that scene… I kinda sat back and took a minute because I knew what it was going to take. But I wanted to do it. The gift of a nuanced character combined with great dialogue is what I live for… I hunger for it. I need it.

That night on set, I was walking around in circles in the dark listening to my music while Brent Christy finished setting camera, and when we finally sat into it… it was like a graveyard, it was so still. Because of the camera and lighting set up, a couple of crew guys were only feet away from me. I remember watching the audio guy check his set up, and then turn his back to me to give me even more privacy. After the first take, no one moved. Justin came around, knelt next to me, whispered some direction, and then he crept back around the camera and called action.

To be given that much respect as an actor… if you’re not an actor, I don’t think I can describe it. I’ve been on sets where I had an emotional scene and people from the crew, to the producers, and even the DP once, were cutting up, telling jokes, standing in my eye line… completely not getting what they were doing. Clueless. And so I say I’ll always work with Justin and with Brent because they protect their actors.

Lewis was a gift. I’ll always remember him. I’ll always have a part of him left with me, and I know I left some of myself with him that night.