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Entries in Filmmaker (3)


Call Answered: Bryan Powers: "Time is the Longest Distance"

Bryan PowersLast week I went to NewFest, NYC's premiere GLBT film festival, because I wanted to see Sam Greisman's film Dinner with Jeffrey. What I discovered during the "Boy Shorts" viewing were some other remarkable movies such as Time is the Longest Distance, a film about an estranged son’s journey to reconnect with his Alzheimer’s-stricken father, and the teenage boy he meets along the way.

As someone who's gay and lost a grandparent to dementia, I connected to this film on many levels. Bryan Powers wrote & directed a powerful short that rightfully so is getting rave reviews at film festivals around the world. Time is the Longest Distance was accepted into over 20 film festivals and so far has won "Best LGBT Film" in the Toronto Independent Film Festival" and "Best Student Film" in the West Virginia FILMmakers Festival.

Time is the Longest Distance will next be screened at the following festivals:

Kansas International Film Festival (All In The Family Shorts) on November 5 at 2:45pm

Yonkers Film Festival (Westchester Shorts 1) on November 8 at 6:30pm

Rome International Film Festival on November 10 at 4:30pm

Monarch Film Festival (Student Block) on December 2 at 2:15pm

For more on Time is the Longest Distance visit and follow the film on Facebook!

1. Who or what inspired you to become a filmmaker? My father managed movie theatres when I was growing up and I spent countless hours watching, and re-watching, whatever he was screening. The cinema was my babysitter and the movies my playmates. Dad was also a journalist and progressed from theatre management to film critic. We attended many films together and I would accompany him back to the newspaper where he’d type up his reviews. Discussing, and sometimes arguing over, films with my dad gave me an appreciation for movies as not just a form of entertainment, but as a form of art.

I originally pursued acting, but had to pay the bills and ended up in retail sales, which led to an unexpected career in retail visual merchandising. However, my love of cinema never diminished and I was always watching whatever I could and constantly reading about film and filmmakers. It was my long-delayed discovery of the films of Francois Truffaut, specifically The 400 Blows, that led to me returning to school to pursue my BA in Film. Something about the humanistic approach of Truffaut’s storytelling really inspired me. Additionally, Truffaut's own story, of growing up with a love of film, becoming a critic, and then choosing to make films also influenced my decision. Although I initially thought I would just pursue editing, which I still consider my favorite part of fimmaking, completing a thesis film that I had written and directed was required for my MFA studies at City College of New York. It was a big challenge, despite having made some previous, smaller shorts, but I am so happy I was forced out of my comfort zone or a dark editing room and forced to be the one making all the decisions — from conception to production, to post-production. It resulted in my film, Time is the Longest Distance and I am now anxious to tackle new projects as a writer/director/editor.

Claudia Murdoch, Bryan Powers, and Andreas Damm NewFest NYC 2017, Photo Credit: Emilio Seri2. I just saw your latest short film, Time is the Longest Distance at NYC's NewFest. It was so powerful and beautiful. The film is based upon your own relationship with your father. When did you initially have the idea to make this film? How long did it take  you from idea to completion? Thank you for the compliments. I am so pleased you were moved by the film. The script’s inception arose from applying to grad schools and trying to come up with ideas for what would make a good thesis film. Many grad schools want to know from the start that you have a viable concept for what might become your thesis. As with most films I’ve made, the script started with images. While some of these where too complex and didn’t end up in the final film, they mostly concerned the passage of time, the change of seasons, and the transient nature of life. From there, I took narrative elements from my own life to develop characters and potential situations where those characters would be in conflict, or would somehow influence one another.

Originally, the character of "Xander," the teenager who finds himself pulled into the story of a stranger trying to reconnect with his Alzheimer’s-suffering father, had a story line of his own. He had his own issues with his father and the chance encounter with "Jack" in the film also worked to help him though his issues. But it’s a short. I had to focus the story and narrow it down a bit.

As part of my MFA studies, the first draft of the film was completed in December of 2014 and then workshopped for months. After casting and pre-production work, we shot on location in the Bronx in the fall of 2015 and the final version of the film for City College was finished by May of 2016. After that, we spent additional post-production time on color correction and an original score, both of which were done pro-bono so I had to wait until those artists had the time to make their contributions. Our first festival screening of the final version of the film took place in April of this year.

3. How did you partner with Cup of Joe Film for this release? What did they get about your film that perhaps another film company did not? I placed an ad, seeking a producer on, a job listing site for film professionals. I had very limited funds to offer, but hoped to find someone that was looking for experience and believed in the script — connected to it deeply enough to dedicate long hours on the project without any expectation of real financial reward. Surprisingly, I had a good amount of applicants. A couple meetings with a couple of them were rescheduled, for whatever reason, and Claudia Murdoch was the first producer I was able to meet. She was also the last. We had an immediate connection — Claudia having switched careers around the same age as myself, and having a personal connection to the storyline of caring for a loved one with dementia. She was also very organized and outgoing. I’m organized, but am more reserved. I needed Claudia’s fearlessness to make the connections, to find the locations, to deal with all the "wheeling and dealing," for lack of a better phrase, that gave me such anxiety. I must say, finding and choosing Claudia was the best thing that happened to the film. I’m confident that it wouldn’t have had the success it’s had without Claudia and Cup of Joe’s unending dedication.

Time is the Longest Distance4. What was the hardest part of the film for you to write? The encounter between "Adam" and his father was tricky. I didn’t want it to be too predictable or too melodramatic, but I also needed it to pack an emotional punch. Getting the dialogue right and dramatizing the moment visually — the awkwardness of "Adam" in trying to get-up his courage and his dad "Jack’s" business with the radio, turning up the volume, which leads to "Adam" taking action. That whole scene was difficult to edit as well — finding the right rhythm and knowing when to to cut to the reaction shots of each character when the encounter goes south.

5. What did you learn about yourself from making this film that you didn't know going through these events? If you mean what I learned making a film based on aspects of events from my own life, I’m not sure. That’s not something I think I’ve really considered. I guess I’ve learned that I need to try to take advantage of time in my own life. It’s cliche, but there really is no time like the present. And the present is all we have. I may say that I’ve learned this, but I can’t say I’ve fully embraced it or put it into action. I’m still great at procrastination. I’m trying to improve. I’m trying. Maybe tomorrow I’ll improve.

6. Time is the Longest Distance has been accepted into over 20 film festivals. It has won "Best LGBT Film" in the Toronto Independent Film Festival" and "Best Student Film" in the West Virginia FILMmakers Festival. What is it like to have your film not only accepted into these festivals, but then to win these awards? Do you need these accolades to know you made a good film? Did I make a good film? Just kidding...but not totally. I, like most artists, I think, tend to focus on what could be better. I still see all the imperfections in the film — most that are probably not even noticed by the average viewer, especially if the narrative works and they are drawn into the story of the film. Is there such a thing as a confident artist? Aren’t we all plagued by insecurities? Or is that just me? I imagine Tarantino doesn’t doubt his own brilliance. But all joking aside, I was happy to get the film into one festival — being accepted into so many and winning awards? That has been amazing. I was confident in the story I was telling and in most aspects of how we told it, but I could never have imagined that the film would have been embraced and praised by so many others.

7. What has been the most heartbreaking story you've heard from viewers after a screening? What has been a comment that just made your whole face light up and you still think about today? It’s been very touching to hear so many stories from viewers who themselves have been touched by Alzheimer’s and who tell me how much the portrayal of the father in the film rang true to them. After the film’s second screening at NewFest, I had a lovely gentleman come up to me and tell me how he loved how the film demonstrates some of the family’s resistance, conscious or not, to letting the father live in his own reality and how the film’s resolution comes from a moment when the family does allow the dad, without interruption, to live out what is real to him.

If I can share his story of his own mother who had Alzheimer’s, he told me he eventually came to the realization that it wasn’t productive, it didn’t help his mother or provide her any comfort, if he constantly tried to correct her. He realized she was much happier when he participated in her misconceptions, her perception of reality. One day (and I may not have the story exactly right) she asked him, "Who’s your mother?" He replied enthusiastically, "Who would you like to be my mother?" She responded, "Well, I’d like to be your mother." That broke and warmed my heart at the same time. I was so happy he took the time to find me and share his experience with me after the film.

"Time is the Longest Distance"8. As someone who lost a grandparent to dementia, watching your film, Time is the Longest Distance, brought up so many memories of my grandmother, especially when her memory was going. What was the toughest part for you, watching your dad's memory decline? Being that my dad was an avid reader and writer, it was hard to see him lose those abilities. With the loss of his short term memory, he could no longer hold the thoughts of what he has just read and couldn’t make it past a paragraph or two. The same was true of films, which he loved. He began to like simpler films, where the moments of each scene as they happen could provide him some joy, but where he didn’t have to comprehend the film as a whole. As far as his writing, I have a journal of his, written over several months. I’ve never been able to read the whole thing; it’s too heartbreaking. In addition to the frustration expressed in his writing, in not being able to put his thoughts into words, you can see the frustration in his actual penmanship; the writing becomes larger and more erratic. It’s tough to see that — a physical document and demonstration of his thoughts and emotions.

9. What is the fondest memory you have of your dad? I have so many. I get my height from my dad, but he was a bit stockier through most of his life, until the final years. He gave great hugs. I miss his hugs. Towards the end, despite him losing so much of what made him who he was, despite me never being sure if he recognized me or other members of my family, his love for my mom only grew stronger. That never went away. He never forgot his Betty and seeing her always brought him the most joy. She may have grown irritated at times by his constant declarations of love for her, but it was beautiful. They met in high school and were together for 60 years. I tried to show that love between the parents in my film.

10. After this round of festival screenings is over, what are the next steps for this film? Do you want to expand it to full feature? Or do you feel it's meant to be a short and you will focus on new projects? There’s definitely a feature in there. As I mentioned, I have a whole story for "Xander" and would love to explore his story before and after it intersects with "Adam’s." If I could find the time, and the financing, to expand it into a feature, I would love to take on that challenge. I’ve written two new shorts over the last few months, one that deals with the generational differences between the men who survived the AIDS crisis and the current generation of gay men who no longer see AIDS as a real threat. I would love to get that film into production. Traveling to several LGBTQ film festivals with Time is the Longest Distance, I’ve become aware of how a large percentage of the festivals’ audiences are men of a certain age. I think they long to see their stories on screen. And I think they deserve to be represented.

Bryan Powers at NewFest NYC 2017, Photo Credit: Emilio SeriMore on Bryan:

Bryan’s informal film education started early, as the son of a cinema manager and film critic. In 2016 Bryan obtained his MFA in film from the City College of New York. Previously, Bryan graduated Summa Cum Laude with a BA in Film from Hunter College where he received a scholarship from BAFTA (British Academy of Film and Television Arts) and was nominated for Marshall and Fulbright Scholarships. In addition to being the editor on many projects, Bryan has also written & directed several shorts and has worked as an Assistant Director, Sound Recordist, Boom Operator, and Sound Editor on numerous others. Bryan’s past jobs in post-production include positions at DCTV and Tribeca Film Institute.


Call Answered: Robert L. Camina: Upstairs Inferno Documentary

Robert L. CaminaThe thing I love most about Facebook is the way it connects people. Robert L. Camina and I have been friends for a few years, so when I found out he was a filmmaker and that his new documentary Upstairs Inferno, about the deadly 1973 New Orleans gay bar arson was the subject, I called Robert and he answered. It was really great connecting with Robert in this way. From this interview, I learned so much about him, his filmmaking process, and more about this tragic time in gay history that is not very well known.

Upstairs Inferno is a poignant and timely documentary chronicling the deadly 1973 New Orleans gay bar arson: an event that remained the Largest Gay Mass Murder in U.S. History for 43 years. Upstairs Inferno is the most comprehensive and authoritative film about the fire and its aftermath. Upstairs Inferno brings humanity to the headlines by shining a light on the very painful effect the tragedy had on survivors, witnesses and loved ones. Their interviews are gut wrenching, yet insightful. Some of the people interviewed in the film haven't publicly discussed the fire until now, especially on camera. The film is narrated by New Orleans' own New York Times Best Selling Author, Christopher Rice.

Upstairs Inferno will be making its NYC premiere in the Manhattan Film Festival on Monday, April 24 with two screenings: 5pm (just added) & 7pm (SOLD OUT) at Cinema Village (22 East 12th Street). The 7pm screening will be followed by a Q&A conducted by Robert himself. Click here for tickets!

For more on Robert be sure to visit!

For more on Upstairs Inferno be sure to visit and follow the film on Facebook and Twitter!

1. Your latest documentary, Upstairs Inferno, documents the deadly 1973 New Orleans gay bar arson that was the largest gay mass murder for 43 years, until Pulse Nightclub. Why did you want to make a documentary about this tragic event? When I first heard about this tragedy a few years ago, I was shocked. I had never heard of it. The arson was a benchmark moment in history, but it wasn't part of the common LGBT history narrative. I felt that needed to change.  I wanted to educate audiences about this little known event and honor the victims and people affected by the deadly fire.

I didn't want to create a stagnant documentary, with only an exposition of facts. Through very honest and intimate interviews, I wanted to humanize the story and show the real impact the fire had on the victims' friends, families and the LGBT movement. It's easy to trivialize a situation when you gloss over a headline in a newspaper (or a Facebook post). There is something about SEEING and HEARING the story from those who experienced an event, that truly makes it "real." That's what possesses the potential to create change.

The victims are more than statistics, more then names in a newspaper clipping or even names on a plaque. These were unfinished lives, tragically cut short by a senseless act. The victims and their families and friends left to cope with the aftermath deserved better treatment than what they got. I thought, if I have an opportunity to provide any sort of legacy or light for them, I wanted to try.

Up Stairs Lounge2. The arson of the Up Stairs Lounge was the largest gay mass murder for 43 years. Why do you feel this story is not talked about as much as say The Stonewall Riots? You're right. This story hasn't been talked about much and I believe it was nearly forgotten. But why? I think it was because people directly affected by the fire didn't want to talk about it. The impression that I got was that people were embarrassed or ashamed to talk about the tragedy. The fire did not launch a revolution and the little activism that was spawned from the tragedy, fizzled out very quickly. I'm told that it didn't take long before New Orleans saw an indifference within the community after the fire. (However, there are mixed opinions on whether the fire was a birth of gay rights activism in New Orleans, which is something we explore in UPSTAIRS INFERNO.) Also, you have families that didn't claim their dead children. As a collective community, that is shameful and embarrassing. You also have a prime suspect who is a member of the LGBT community. Evidence points to the fact that this horrific crime was committed by one of our own. Furthermore, there isn't any official closure. Police weren't able to charge anyone with the crime. While the evidence points to a primary suspect committing the crime, there is no justice. Lastly, I think few people know about the story because it's been too painful for victims to talk about.

Up Stairs Lounge3. How do you feel the arson of the Up Stairs Lounge and the shooting at Pulse Nightclub are parallel of each other? For nearly 43 years, the June 24, 1973 arson at the Up Stairs Lounge, an event that claimed 32 lives, was considered "The Largest Gay Mass Murder in U.S. History." It’s with tremendous grief, we recognize that's no longer the case. With 49 patrons dead and families shattered, the June 12, 2016 mass shooting at Pulse Nightclub now holds that dubious title.  No one wanted to pass that moniker on and see a horror of this nature again. It was a stark reminder that while the LGBTQ community has achieved a lot in its fight for equality, there are many people who still feel that LGBTQ lives are expendable.

What we learned in the wake of the Up Stairs Lounge arson, is that this tragedy will have a tremendous psychological impact, not only for those directly impacted by the shooting, but throughout the entire LGBTQ community.

Unlike after the 1973 New Orleans gay mass murder, most political leaders expressed compassion, grief and determination for justice after the shooting. Communities across the country and world held vigils, standing in solidarity with Orlando. That didn't happen in 1973. Nearly $8 million dollars was raised for Pulse victims through a GoFundMe account. In the aftermath of the Up Stairs Lounge arson, only $17,900 was raised through the National New Orleans Memorial Fund. Adjusted for inflation, that equals $96,951.90. That's a huge difference! And while the outpouring of compassion is far greater than in 1973, there are still community and religious leaders callously turning their backs to the victims and the LGBT community.

Upstairs Inferno4. What did you learn from making this documentary, both about that fateful night and in your directing skills of how you wanted to tell this story? The more I learned about the tragedy, the more important this project became. I believe it is crucial to acknowledge, preserve and honor our history as LGBT people, no matter where you live. The LGBT dialogue has changed SO much in the past few years. As popular attitudes shift around the world on LGBT issues, we risk losing the stories of the struggles that got us where we are today. It's our responsibility to honor the memories of those who came before us, including those who died at the Up Stairs Lounge. The people who experienced this tragedy paved the way for the freedoms enjoyed by the New Orleans LGBT community of today, as well as the overall LGBT movement. I wanted to create a film that honored their forgotten stories.

Making the film underscored the importance of sharing our stories. We must be visible. It's easier for people to hate and fear things they don't understand. No matter your background, in the end, we are more alike than we are different. I think stories like UPSTAIRS INFERNO reminds of us that.

5. Upstairs Inferno is going to make its NYC's premiere at the Manhattan Film Festival with a screening on April 24 at Cinema Village. What excites you about having this film show in New York City? It's NEW YORK CITY!!! I love this town! About 10 years ago, I was fortunate to live in Manhattan for a summer. (I must admit, I left a little piece of my heart there and I miss it a lot!) I attended a film program while living in New York, and the short film I directed there launched my professional filmmaking career. It's great to come full circle -- screening this full length film in the city where my journey began.

In addition, New York is considered by many to be the epicenter of the modern U.S. Gay Rights Movement.  A film about gay rights and gay history belongs in New York.

6. The narrator of Upstairs Inferno is New York Times best selling author Christopher Rice (son of legendary author Anne Rice). How did you approach him to be the narrator for this documentary? When looking for a narrator, I wanted someone who was passionate about LGBT issues and passionate about New Orleans. Chris immediately came to mind. Chris considers New Orleans his "hometown" and is very passionate about keeping its history alive! I knew that passion would come across in his narration. It's not something you can fake. As a New York Times best selling author, much of his writing is heavily influenced by the years he and his Mom (legendary vampire chronicler, Anne Rice) lived in New Orleans. I contacted him and he was immediately on-board!

"The View Upstairs" Off-Broadway7. With the hit Off-Broadway show The View Upstairs currently running, how do you feel this film compliments the show and vice versa? Theater is such a powerful medium! The View Upstairs, which is inspired by the Up Stairs Lounge fire, has introduced theatergoers to a tragic event in LGBT history that few people knew about. It has undoubtedly left audience members wanting to know more about the deadly arson, the actual people it affected, the devastating aftermath and its rightful place in LGBT history. There's so much more to the story. That's where UPSTAIRS INFERNO comes in. The documentary features the real life stories behind the deadly arson and its aftermath. The interviews with survivors and the family/friends of victims are gut wrenching, yet insightful. Some of the people interviewed in the film haven't publicly discussed the fire until now, especially on camera. I believe UPSTAIRS INFERNO brings humanity to the history-making headlines by shining a light on the very painful effect the tragedy had on survivors, witnesses and loved ones.

I am thrilled that the creative team and cast of The View Upstairs are planning to attend the UPSTAIRS INFERNO screening. I am glad that we get to share the city for one night, uniting to educate people about this nearly forgotten tragedy from our history.

8. I read that you hope Upstairs Inferno helps remind people to seize the day. What event in your life reminded you to seize the day? And since that event, how have you seized the day? Earlier this month, I had a friend suddenly pass away. He was my age. I get really caught up in my work, but his passing was a stark reminder that tomorrow is not promised. With each passing day, I do my best not to be a workaholic, step away from the computer and spend more time with my partner, our puppies and my family and friends. You never know what tomorrow will bring. Life is fickle.

Brian Long and Robert L. Camina9. Upstairs Inferno is your second full length documentary, the first one being Raid of the Rainbow Lounge, which recounts the widely publicized and controversial June 28, 2009 police raid of a Fort Worth, Texas gay bar that resulted in multiple arrests and serious injuries. Before that, you wrote, directed and produced several short films. What made you want to switch from short films to documentaries? At my core, I am a storyteller. I am drawn to stories of the human condition. Whether it be through comedy, drama or documentaries, I prefer telling stories that fight for the underdogs and ultimately inspire us to be better people.

The switch from narrative short films to full length documentaries was not a premeditated decision. June 28, 2009, is a date that changed my life forever. That's when police and law enforcement officials violently raided a Texas gay bar, resulting in multiple arrests and serious injuries. That happened to be the 40th anniversary of the Stonewall Inn raid and the parallels were haunting. I had many friends in the bar that night. As the day went on, the facts surrounding the raid were unclear and the future was uncertain. However, my instincts and outrage told me that I needed to capture what was happening on video and potentially create a short film. Little did I know, that decision would define my life for the next 2.5 years. Over the next few months, the story grew. It was quickly apparent that this project wouldn't be a short film, but a feature length film. Since the film's release, RAID OF THE RAINBOW LOUNGE has helped educate and enlighten audiences around the world. It's been a training tool for law enforcement and city officials across the nation. The film also received attention from the Office of the White House, Department of Justice and a division of the U.S. State Department. Documentaries are powerful tools. They possess the power to create change.  That's one reason why I like them and why I decided to take on the story of the Up Stairs Lounge arson.

10. If you could make a documentary about a living and dead celebrity, who would choose for each? Living celebrity: Dustin Lance Black. First of all, we have a few things in common: Not only do we share a passion for LGBT history, but we both grew up in San Antonio. But beyond that, I greatly admire him. He has done so much for our community through his activism and his storytelling. For years, he has been fighting hard to make our stories more visible. I'm sure that hasn't been easy and it'd be a privilege to tell his story.

Dead celebrity: Morris Kight. "Morris Kight" is not a name a lot of people know, but they should. We wouldn't be where we are without him. He was one of the architects of the modern gay rights movement, spearheading a non-violent movement for social reform.  Kight co-founded the Los Angeles Gay Liberation Front in 1969. He went on to co-found the Gay and Lesbian Community Services Center (now known as Los Angeles Gay and Lesbian Center). He was also a co-founder of the first Los Angeles Gay Pride Parade in 1970. He also conceptualized and co-founded many organizations that were created to advance the quality of life for all GLBT persons. More people need to know about Morris and his contributions to our fight for equality.

Robert L. Camina, Photo Credit: Gerry SzymanskiMore on Robert:

Robert L. Camina wrote, directed and produced several short films before premiering his first full length documentary, RAID OF THE RAINBOW LOUNGE (2012) to sold out audiences, rave reviews and a media frenzy. RAID OF THE RAINBOW LOUNGE recounts the widely publicized and controversial June 28, 2009 police raid of a Fort Worth, Texas gay bar that resulted in multiple arrests and serious injuries. The raid occurred on the 40th Anniversary of the Stonewall Inn raid. The film, narrated by TV icon Meredith Baxter, screened during 33 mainstream and LGBT film festivals across the United States, Mexico and Canada. The film won several awards including 5 "Best" Film and 3 "Audience Choice" Awards. The film also received attention from the Office of the White House, Department of Justice and a division of the U.S. State Department. At their invitation, the Library of Congress hosted a screening in October 2014. (


Call Answered: Riley Bodenstab: Life in Pieces

Riley Bodenstab at Credence Entertainment Launch Event, Photo Credit: David Edwards -"Call Me Adam" chats with rising actor Riley Bodenstab about being on the new CBS series Life in Pieces which will be premiering this fall (starring Dianne Wiest, James Brolin, Betsy Brandt, Colin Hanks, Thomas Sadoski)! We also discuss working with Breaking Bad's Betsy Brandt, starring on NBC's Days of Our Lives as "Cole Hines," FX's Justified as "Derrick Waters," starting his own production company, and just how far he's come in such a short time!

For more on Riley be sure to visit and follow him on Facebook and @RileyBodenstab!

1. The next time we'll see you on TV will be in the CBS series Life in Pieces. In the trailer, you are in a scene with Breaking Bad's Betsy Brandt. How was that experience? Working on Life in Pieces was  a really rewarding experience. The entire cast was phenomenal. I am very proud to be a part of it. Betsy Brandt is one of the nicest people I have ever worked with on set. When I first met her in the make-up room, we were cracking jokes and laughing right off the bat.​ She is an incredible actress​, and I look forward ​to working with her again.​

2. Who or what inspired you to become an actor? That'​s a funny question in some ways,​ because I never really thought I could ever be an actor​. ​​B​ut a girl I had a crush on in high school (who worked with me at one of my many jobs...​haha) said she could see me on ​TV and being an actor someday. I had never acted a day in my life and thought she was actually a bit crazy but was just happy she was paying attention to me.​ I actually forgot about that until recently.

So no one really inspired me,​ per se, except maybe her putting it in the back of my head, in some ways. A​t the time I ​thought this was so far off base and that she was just being nice,​ so I didn’t think too much of it. Coincidentally, when I ​got to engineering school at S​anta C​lara U​niversity,​ I had to pick a liberal arts class,​ and the only one left was acting. I​ signed up for it only because I had to, since nothing else was available. I honestly worried if I would fail the class. I didn’t know if it was a good idea to sign up, since I had never acted and was really bad at memorizing. ​But they bumped me up a class and gave me the lead in the play. It was the hardest thing I had ever done, that I stuck to, and I’m still not really sure to this day why I did. ​B​ut I slowly fell in love with acting -​ e​specially once we put on the show, and the rush of the ​performance came over me. By the time the show was up,​ I​ was switching my majors to business and communications.

T​hat summer,​ I went to LA for a very intensive film acting program,​ and I was hooked.

Riley Bodenstab on CBS' "Life in Pieces"3. Who do you hope to get to work with both on and off-screen? Wow that's so tough, because there are so many incredible actors I would love to work with. I'​d have to say on-screen it would probably be Michael Fassbender. He is so incredibly engaged in every performance he does, and he ​captivates you like very few people can. I think my experience in gritty indie theater,​ like playing "Eric Harris" in The Columbine Project, taught me to not just be like the character - but to become the character.

Off-screen​,​ I'​d like to work with Darren Aronofsky. I have a few favorite filmmakers,​ but he is one guy who always goes after the film he wants to make the way he wants to make it, in a great way.

4. You ​were on NBC's long-running hit Soap Opera, Days of Our Lives in the recurring role of "Cole Hines" (also known as "Bad Teen #2"). What made you want to audition for Days of Our Lives? Bad Teen #2….Nice! I'​m impressed you knew that was the original episode character name for Cole...haha. Honestly,​ when you're starting out as an actor, you pretty much go in on whatever comes your way. Days Of Our ​Lives is a p​rofessional show and the characters, Marnie Saitta (the casting director), always had me read for I responded well to. Not to mention Marnie is a very supportive casting director who doesn’t make you feel like you'​re​ just a number. I owe her a lot, as she really saw something in me, and took a chance on me by trying to find something I could play. She brought me in a few times before I got a call,​ out of the blue,​ about taking on this character that had the potential to turn into something bigger.

5. I have heard that being on a Soap Opera is some of the best training an actor can get. What have you learned about the craft from being Days of Our Lives? Be ready and be prepared. It moves fast,​ so you really have to learn how to have everything ready to go and be prepared for anything.

Riley Bodenstab and Kaitlyn Dever on FX's "Justified"6. You we​re also on FX's hit show Justified as "Derrick Waters." What did​ you relate to most about "Derrick"? "Derrick" wa​s a bit of a loose canon, but had​ a big heart deep down. I think I related​ the most to his big heart. I don't act on my temper,​ or even say anything often,​ as I have a filter and a sharp analytical mind that "Derrick" didn​’t have.​ B​ut none-the-less, those elements of him are very similar to my own fiery emotions. He felt​ indestructible like many guys at that age. ​I think if I hadn’t gone through all the hard times struggling to just get by in LA when I got here,​ I'​d probably have that same false confidence about the world as well.

7. In addition to acting, you are also a filmmaker and head up the production aspect of Credence Entertainment. What do you get from film making that you do not get from acting? What is your favorite part of the creative process in making a film? I think the thing I get most out of filmmaking that I don’t get from acting is examining and engaging the​ psychology of human behavior and story telling. When you​'​r​e​ acting, your job is to become the character and bring that to life. You'​re​ very focused on finding and preparing the emotional and physical elements as an actor only. Filmmaking really lets me get behind the wheel and blend all of those elements together and drive the ship,​ if you will,​ to ​go to the places​ I​ want.

My favorite part of the creative process in making films other than acting is directing and producing.

Riley Bodenstab in "A Killer of Men"8. What's the best advice you've ever received? It doesn’t matter where you get your appetite,​ as long as you eat at home.

9. What have you learned about yourself from being an actor and filmmaker? I'​ve learned everything about myself from being an actor and a filmmaker. Ironically,​ I’ve also changed into a different person as a result of getting into acting. I've​ learned I am capable of almost ​anything.

10. What is like to be the boy from Sammamish Washington, living out his Hollywood dreams? Did you always have your sights on film/television or was there a different career path you thought you might take? It'​s surreal. It'​s almost hard to say it was my dream,​ because I never even thought i​t was an option. I always loved film,​ but it was a hobby that I couldn’t have imagined could have been my life. I thought I’​d get an engineering degree and go into business, real-estate or even architecture. But honestly,​ I was lost in general. I was already changing my major to business and communications instead of engineering after a couple weeks. I really didn’t know what I wanted. When I found acting, it kinda just fell into my lap. T​he whole thing became a dream,​ and it'​s been a very tough journey. I sacrificed a lot and though I’m finally working,​ I still have so many challenges and goals to overcome. But if anyone told me when I​ was 16 that I'​d someday be living in H​ollywood and acting on TV​, I'​d say they were crazy and ask what they were smoking...haha.

Riley Bodenstab on FX's "Justified"11. If you could have any super power, which one would you choose? Flight. I always wanted to be a fighter pilot secretly deep down growing up. My uncle was a former Top Gun Navy fighter pilot, and as a kid I actually dreamed about that more than anything. I love to fly -​ being on planes. I took a few flying lessons growing up. The most amazing and unbelievable experience of my life was when I went skydiving for my 18th birthday. That rush was very similar to being on stage.


12. If you could create your own signature drink, what would you call it and what ingredients are you going to put in it? I’d call it Bodes Well.​ It would have Whiskey, Lemon, Cold Ginger Kombucha Tea - ​on the Rocks.

13. Favorite way to stay in shape? Pouring cement and hauling dirt...​haha. But seriously,​ I work on my place a lot and run up in the hills.​ I built my own little cabin. I got in the best shape that way.​ I’ve kept it up doing little side projects pouring concrete steps or leveling off terraces. I also like going for runs up here in the hills and on ​hikes. I have a spot where I run to, and I can see all of LA. It reminds me how meaningless I am in the grand scheme of time and life. ​S​o that'​s my other favorite, as it'​s more than just a work out. It's​ a serene reminder of how unimportant the daily problems I give credence to really are.

14. Boxers or Briefs? Boxer-Briefs all the way. :)