East side networking nobody asked for

Last week I finally made it to Stephen Mastrocola’s industry mixer at the Red Lion Tavern in Silver Lake, which takes place the first and third Wednesdays each month. Stephen’s a producer, created Static Films and has got the microbudget bug. He produced Crossword (I spoke with writer/director/lead Michael Vlamis at Austin Film Festival, the film is also screening later this month at the Chattanooga Film Festival with my movie, I Really Love My Husband).

I dig that Stephen, along with his Static co-founder Rafi Jacobs, have created a consistent space where creators can come together on the East Side of Los Angeles. The stereotype that creatives live east and biz folks live west is… kind of true. But we creatives still need to be out there making connections and making things (read: not always hiding out in our writing cocoons).

The event was super casual but also showcased a creator team that had all met at this very mixer a while back. I invited new friends I met in Cannes, old friends I hadn’t had time to grab coffee with, and met even more folks headed to Chattanooga (HMU if you’re going). I ran into a festival programmer, a pair of twin directors who just wrapped their feature, a gal who literally just graduated college, and a guy who swore we went to Chapman together (we didn’t) whose got a knack for VFX.

People meeting people and making things. That’s really all we’re doing at the end of the day. I’m going to make Mastrocola’s Red Lion hang a staple—not just because I can walk there, but because connecting with others is part of the job.

WORK IN PROGRESS: NEWS CYCLE

_{WORK IN PROGRESS deep dives one microbudget film with the filmmakers, in the process of making it.}

I connected with Roger Greene Jr. on Instagram a while back and was moved by his story—making a feature while navigating the decline of a loved one. Like Roger, someone in my immediate family was diagnosed with stage four cancer while I was finishing post on my own film. Balancing the push to move a project forward while also savoring time with someone you love is no easy task.

For his first feature film, filmmaker Roger Greene Jr. dove headfirst into one of the most charged intersections of our time: media and politics. News Cycle is a political thriller about the power plays behind the headlines—and the human resilience it takes to survive them. Written, produced, and directed by Roger himself, the film is a true indie effort, brought to life by a passionate cast and crew.

In this Q&A, Roger shares what it took to get News Cycle made, what he learned navigating the chaos of first-time feature filmmaking, and how he stayed grounded in storytelling every step of the way.

Starting with the "why": What inspired you to write News Cycle? Was there a specific moment or personal experience that sparked the idea?

First, I want to give honor to God for this opportunity, the idea for News Cycle came out of a challenge from Mann Robinson Studios in Atlanta. They asked if I could write a film that would primarily take place in a newsroom. I put together my first draft and sent it in, but Mann told me no at first.

He said he wanted to see my style of shooting first. So, I sent him my short film, Kill Everybody in the Room. He called me back and said he loved it, and just like that, I was greenlit. That’s when I sat down and really started thinking about how to make a story that would resonate deeply with people.

Around that time, the conflict between Israel and Gaza erupted. The world was in chaos, and something in my heart said, 'This is it.' That’s when I knew I had the story I wanted to tell.

First feature film hurdles: As a first-time feature filmmaker, what were some of the biggest challenges you faced during production, and how did you overcome them?

The first hurdle was definitely the script. I told Mann I’d shoot in January, which gave me about two months to write it. I called my First AD, Jai’-C. and told her the news, and then I got to work.

The production schedule added another layer of complexity. We shot the film in nine days, which was ambitious, to say the least. But we planned everything to a tee, making sure each character’s perspective was covered so the story felt balanced.

During this time, I was also dealing with personal challenges. My father was battling dementia, and I went to South Carolina to spend time with him. When I wasn’t with my family, I sat in my hotel room and wrote as many pages as I could. I’d send drafts to Jai’-C., my DP Andrew Ravani, and my casting agent Josh Taylor for feedback.

The process became even more meaningful when I shared the news with my father. I told him I had the opportunity to shoot my first feature film, and he looked at me and said, “They’re opening those doors for you, son,” and smiled. He passed the following October, but I’m grateful I got to share a piece of News Cycle with him.

Navigating a political narrative: Political thrillers are often tricky to balance—what approach did you take to keep News Cycle grounded in human resilience while exploring the collision of media and politics?

I wanted to make sure the film didn’t take sides. The story is rooted in a real-world conflict, but I gave each character their own perspective and a valid reason for their actions. That way, the audience can understand where everyone is coming from.

At its core, News Cycle is about life, death, and the choices we make when everything is on the line.

Teamwork behind the scenes: Independent filmmaking thrives on collaboration. Can you tell us about how you assembled your cast and crew and what made the process unique for this project?

I have to give credit to Mann Robinson for providing the foundation—his studio, equipment, and distribution resources were a huge help. His staff, Russ, Chop, and Asia, were incredible guides throughout the process.

I also relied on my extensive network.  I called my First AD, Jai’-C., and she brought on our script supervisor, KaSonya Sanchez, who was a ray of sunshine on set. My DP, Andrew Ravani, has been a friend for over 20 years, and he was ready to jump in with both feet. My fiancé, Chantel Wood, is a visual merchandiser and designer, and she took over wardrobe and nailed it. It was a family affair.

My friend Greg Waddle brought that Hollywood touch from his years of experience, and my sound guy, PL Sweets, has been a mentor of mine since I was 18. The rest of the team—from my First AC, Clayton Koffman, to our composer, Armando Colon—put their hearts into this project.

The cast came together just as naturally. Omar Gooding signed on before even reading the script. When he finally did, he called me and said, 'This is it.' Dennis L.A. White joined after reading the script as well as Paul Van Scott and Gloria El Ashkar, who was incredible. Everyone—from Kelly Ladd to Gloria Hankerson, Aubria Greene, Dorothy Meyers, Omar Salgado,—brought their A-game. It really felt like family.

You mentioned the theme of human resilience in your film—how did this theme show up for you personally during the filmmaking process?

Taking on a feature film two months before shooting while dealing with personal challenges was a wild experience. But when you want something as bad as I wanted this, you find a way. I spent all of 2023 saying, “I’m going to shoot a feature film.” No more shorts—this was my goal. And God placed this opportunity in my lap. It was faith, belief, and a lot of hard work.

Financing and producing an indie film is no small feat. Were there any creative strategies or unexpected resources you tapped into to get News Cycle off the ground?

Mann gave us nine days in his studio, which was huge. Andrew and PL brought additional gear, and I own a prop company called We Got the Propz, so we had a lot of bases covered. I also reached out to two longtime friends—Karl, who owns New England Sweetwater, and Alan, who owns Henderson Spirits Group. They provided resources for product placement, which helped tremendously.

Feeding the cast and crew is one of the most important parts of indie filmmaking. My cousin Latrice and Chef X from Parlay Savory Saloon provided incredible meals every day. You can’t underestimate how much that boosts morale.

Now that you’ve made your first feature, what’s one piece of advice you’d give to someone standing where you were at the start of this journey?

As scary as it seems, once it’s done, it’s the most satisfying thing you’ll ever do. Don’t stress too much about the cost—at the end of the day, it’s a labor of love. Believe in yourself and the people around you, and everything else will fall into place.