Pipeline Artists

The working-class is what I know, and they’re almost always at the heart of the stories I tell. As for why we’re not hearing enough about them—I don’t know. Superheroes are overqualified for the jobs out here.

I hope this story offers readers some kind of kindling—for warmth, or to stir some hidden fire. Mostly, I hope this story helps someone reclaim their own skin—whatever that means to them.

I really relish just wallowing in the language, the descriptions, making sure everything is as tight and on-point as it can possibly be.

There is also an unhealthy obsession with "natural talent," making it somehow more meaningful than hard work, and this has never sat well with me.

Wired Shut writer/producer, Peter Malone Elliott, and director, Alexander Sharp, discuss the behind-the-scenes details of taking their feature film, from idea to completion.

I think people can relate to feeling so desperate and invisible that they might do something they think they would never do.

Unless we are performing and/or directing, we aren’t building the house or moving into it—we have to leave space for the other collaborators.

There is nothing more motivating than just observing human beings in the wild.

I think all artists are inherently invisible problem solvers. We see an empty space in the world and want to fill it with our ideas, our images, and our stories.

I have always sought to understand as many points of view as possible. I want to make these worlds accessible through empathy. To make them entertaining by surprising audiences and subverting expectations.

The only way I've found happiness in this crazy business is to build a solid friend circle of people who genuinely want to see me succeed and vice versa.

There was a time when I was on the path to become a clinical neuropsychologist. But while I love learning about the brain and human psychology, I'm a storyteller at heart and, ultimately, had to follow my passion.

What I’ve come to realize over the years is that you have to stop looking outside yourself for validation.

"Much of my writing has centered on historical dramas, including a short film set in 1960s Appalachia and another in 1970s New York."

In writing, I am every character's voice—even the location's.