Ohene Cornelius: Confessions of a Working Actor Father

By Ohene Cornelius, lead Actor in 'Brown Baby'.


As I sit in this swank Union Square bar, being bought a drink from my very single "Kick Ass" scene partner (JH), in the midst of fun, I remind myself I have to go home in 10 minutes.  Going home at 7pm is the only way I can go home with enough time to spend with my son, before he plops off to sleep, and perhaps talk to my exhausted wife who after working tirelessly to meet the bills that I may or may not be able to pay, wants to just sleep. 

(In between great movie and television projects I've done low paying theater jobs that feed me greatly artistically and minimumly finacially, merely because Broadway hasn't called yet. And because I made the commitment and sacrifice now to focus on my craft, until my name has been solidified in the genre I have the burden of financial uncertainty) 

Needless to say not the type of glamourous life I thought I'd be leading.

As I restlessly log on to Facebook, and breifly think about my career in it's current state, I'm told there are access problems so, no Facebook. I turn on the tube. Get out my lines and study. Fiddle with my guitar. Look up and it seems hours have passed by but in actuality it's been 30 minutes since all have went to sleep. I think about that 19 year old girl that gave me her number to "talk acting," and shake my head no. I become consumed with grief for a second. Why in my twenties have I had to slow down with my selfishness? 

(My son was fun to make, but oh so unplanned. I was fearful of the time I had to spend as a serious artist wouldn't allot for much time and space for a child. Plus I figured my turbulent past wouldn't allow me the skills to properly be a positive father/husband figure)

I enjoyed being selfish. Looking out for myself. I didn't truly get to be as selfish as I thought I would be. I thought by now I'd be smoking pounds of herb and having orgies with women who only saw me as a dollar sign. The last sentence makes me giggle and to the advice of my parents, my manager, and SAG, I look to the positive. 

I have started a family with a beautiful woman I love. I have a child who shares my genes and my face. I am in a house, I got cable and internet, and a place to rest my guitar and head. The thought of sleep makes me sleepy. I peak in to make sure my son is breathing, slide into my bed, turn on the tv and put on the newest episode of gossip girl that I have DVR'rd. Dosing off I think about the arguments me and my wife have had, some as recent as hours ago, with me losing my temper and her hurting my feelings...Money and time are usually the issue. 

(When one has worked their whole life to survive, your immeadiate survival does not become an issue, once a ceratin level of success is reached... You've reached your neurological thermostat. Thus one seeks happiness through the risks of dreams, because they have realised they can survive if they falter... This is a mechanism that makes failures or futures). 

I'm still learning how to balance goals, Short term vs. Long term. (i.e.) having a sane and productive creative life that comes from within for within and a creative life from within made for, not myself, but the greater good and cause. 

Rubbing my eyes. Audition in the early AM. Rehearsal. Work. So for now, I slowly nod off as Chuck and Blair's interesting love ensues. Talent doesn't do it alone. God give's you only as much as you can bare. Rome wasn't built in a day. Dedication to excellence. Do not let anyone decide your future. Be an active participant in your career. Sleep.

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Art is FREE; Audience is Priceless

We’re smack dab in the middle of the most opportunistic moment in history to be independent filmmakers. 

The confluence of emerging technologies, social trends and shifts in our consumption habits has created a perfect storm above the landscape of our digital age.  We’re mobile, we’re interactive and we want it right now in real-time, and when copyright owners fail to deliver--when, where and how the audience demands it, someone else does.  Despite industry’s best collective antipiracy efforts to thwart peer-to-peer sharing with lawsuits, security firms and content protection, virtually everything digital is already FREE.  Such is the digital revolution—we’re all insurgents.

Filmmakers who aspire to make money must first adapt their business model.  Simply speaking—if you’re not passionately committed to the  Art of movie making for the long haul, turn and run like hell--because it’s about to get ugly.  Trim the fat; dump the dead weight; stop searching high and low for more money and become highly-effective with even less.  This may sound counter-productive to some and par for the course for others (be thankful for this invaluable skillset).  When costs are low, profit potential is high, and when Art is FREE, your audience denotes the sum of your intangible assets:

1. Connect with like-minded creatives;
2. Stockpile your resources;
3. Collaborate co-operatively;
4. Engage your audiences collectively.
5. Repeat.

Sustaining this process channels numerous opportunities to generate alternative revenue streams as a direct result of your command of a loyal captive audience.  With a vested interest in your body of work, they will gratefully repay you for your artistic contributions for their social benefit.  Techdirt founder Mike Masnick formulates this best:

CwF + RtB = $$$

Connect with fans (CwF) 

give them a reason to buy (RtB)

and you’ll eventually turn a profit ($$$)

The idea of sustaining a long illustrious career doing something I love to do sounds beautifully bright to me—despite the doomsday profiteers who claim independent film is a dying art form.  Perhaps the demarcation between true independent film and ‘indie filmlike’ will grow more distinct and discernible, and that’s a good thing. 

I have a lot riding on ‘Brown Baby’ but I don’t foresee a theatrical release.  Alternatively, I see the reward in sharing a story I care about with people I care about--and ultimately caring about more people who discover the film and choose to care about me and my Art in the process.  But how will I reach them?  How will anyone know my ‘little movie that could’ even exists?  If nobody knows Miles Maker to begin with, and nobody knows the Actors (relatively speaking) in my brilliant little film, how might I possibly compete for your time and attention without a traditional ‘push’ marketing campaign?  My little "Brown Baby" wasn't born with a mammoth advertising budget, a dedicated promotional staff or strong ties to media outlets.  The ‘Brown Baby’ marketing strategy isn’t even broad audience--but technology enables me to deliver compelling resonant experiences through perpetual conversations with relevant users in a direct and meaningful way.  How?  You’ll see.  But even then, considering everything digital is already FREE, how will I convince someone unfamiliar with me or my work or my Actors to spend money for my movie?  Now consider the fact I rented ‘Wolverine’ starring Hugh Jackman from Redbox yesterday for $1 and I can watch Hollywood movies on my mobile phone for $4.99 and I can find any of this for FREE somewhere else on the Internet.  What in the hell am I thinking trying to charge money for my first movie?  Why would an emerging filmmaker release a debut a feature film looking backwards anyway?

 

A totally FREE movie makes all the sense in the world in light of everything we know about the digital age—where we are today and where we’ll be tomorrow, and this is nothing new: ‘Sita Sings the Blues’ is a totally FREE movie, yet animator Nina Paley has made over $55,000 from the movie—and that’s net profit, not gross revenue.  Over half of her profits have come from direct donations via her website and ‘honor’ contributions from cinemas screening the movie.  “It turns out that audiences really want to share money with artists,” Paley explains. “Who knew?”

"Brown Baby" is a totally FREE movie you can share, remix, re-use and rediscover.  Rediscover?  That’s the film's transmedia component.  As for the rest--it's courtesy of a Creative Commons Attribution-Share Alike 3.0 unported License.  Will the movie be FREE to everyone?  No.  It all depends on where and how you discover it!  You will discover "Brown Baby" everywhere Online—


P2P (peer-to-peer) Networks:
BitTorrent
Vodo
P2P network Vodo accepts donations for FREE films.  As for Vodo's effectiveness--Ivo Gormley's documentary, "Us Now" was downloaded more than 10,000 times on its first day on Vodo. 


You'll also discover "Brown Baby" on FREE and paid Web distribution platforms for VOD and DVD:
CreateSpace (via Amazon)
EZTakes
Film Annex
FilmOn 
Flixster
HDMT 
Jaman
MovieFlix 
SurfTheChannel 


Theatrical Event Releasing:
OpenIndie
IndieScreenings


The size of Brown Baby’s audience is potentially enormous; my daunting challenge is in conceptualizing an effective strategy to easily (and affordably) reach them.  My objective is to convince as many people as possible to watch ‘Brown Baby,’ because Art is FREE; Audience is priceless.  Some will watch "Brown Baby" for FREE, while others will discover "Brown Baby" on a paid platform--while others may discover Brown Baby" for FREE and decide to DONATE.  However the "Brown BabyMaker Collector's Edition" DVD will NOT be FREE--it will feature all the extras (behind the scenes, cast & crew interviews, trailers, viral videos, music videos and transmedia installments) including a ‘FREE Brown Baby’ case study about the totally FREE film.  Stay tuned for DVD sales on our site through NeoFlix and merchant affiliates via IndieClix.  
Stay tuned!  "Brown Baby" is currently in development and will be released next Spring 2010.

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Crewing Up: No Cheap Talk about Profit-Sharing

INT. CRAMPED APARTMENT -- DAY

MILES MAKER, late 30's, is leaned over an a laptop computer on a sofa bed in a tiny one-bedroom apartment.  He picks up his cell phone, dials a number and waits.

MILES MAKER

Hello... hey Joe?

JOE CREW

Yeah.

MILES MAKER

Hey man!

JOE CREW

Oh hey!  Maker!  What's good?

MILES MAKER

Everything bro!  Everything.  You?

JOE CREW

Oh, you know.  Slow.

(pause)

You know how it is.

MILES MAKER

I know that feelin' all too well.

I got so many projects on hold

I should setup a halfway house

 for films in development.

JOE CREW

(laughs)

So what's up?

MILES MAKER

Time's up.

No more waiting.

(pause)

I gotta project I think you might

be interested in getting involved with.

JOE CREW

Oh really?  What's it about?

MILES MAKER

Unplanned parenthood.

Responsibility.  Sacrifice for the sake

of an innocent brown baby's future.

JOE CREW

It's a doc?

MILES MAKER

Nope it's a narrative.

A romantic dramedy--

I wrote the script myself.

JOE CREW

Okay cool.  When are you shooting?

MILES MAKER

That depends.

I'm assembling the crew right now--

JOE CREW

Okay what's your budget.

Silence.

JOE CREW

Hello?

Beat.

MILES MAKER

Yeah.  I'm here.

Beat.

JOE CREW

What's your budget?

MILES MAKER

Lowanna know

JOE

Lo wanna what?

(laughs)

What the fuck is that?

MILES MAKER

Lower than you wanna know.

JOE CREW

Oh I wanna know!  Believe me!

MILES MAKER

Well there isn't one--

it's a profit-sharing model.

Beat.

JOE CREW

Profit sharing huh.

You got a distribution deal?

MILES MAKER

Nope.  Just a plan.

Beat.

JOE CREW

(laughs)

Man I don't know.

MILES MAKER

When have I ever had money Joe?

All I'm asking for is seven days.

JOE CREW

Oh it's a short?

MILES MAKER

(laughs)

A feature.

JOE CREW

(laughs)

In seven days?  Yeah right.

MILES MAKER

You'll see.

JOE CREW

How are you gonna pull that off?

MILES MAKER

Very carefully.

And with a whole lotta preparation!

JOE CREW

How many pages.

MILES MAKER

About sixty.

JOE CREW

Shit.

MILES MAKER

Guerrilla film my dude--

that's why I need you on the team.

You're quick--

you're passionate about quality,

you're all about solutions and you're damn good.

You're one of the best I know bro.

Just leave the rest to me.

The Actors are gonna come prepared too.

My shooting ratio's gonna fall in around 3 or 4:1--

minimal set lighting and very few locations.

Half the film takes place in a 3-block radius

of Jersey City--

and most of that's an apartment building.

JOE CREW

You got it all locked down?

MILES MAKER

I'm living on the 'Brown Baby' set as we speak.

There's a heavy musical component to the film too,

so there's more than a few montage sequences

to push it along--

no dialogue just emotional shots to music.

Ever seen Machetero?

JOE CREW

Nope.  Is it on Netflix?

MILES MAKER

It's on the festival circuit right now

but I gotta copy.

The music is powerful--

really effective in passing the time

with montage scenes in a low-budget flick.

The music sets the tone too.

It's married to the plot of the film

like you wouldn't believe.

Inspiring.

JOE CREW

Okay.  Then what?

MILES MAKER

Huh?

JOE CREW

What are you gonna do

with the finished movie?

MILES MAKER

Give it away.

Beat.

JOE CREW

Miles--stop fuckin' with me.

MILES MAKER

I'm serious!

JOE CREW

And you're trying to convince me

to consider a profit-sharing offer?

(laughs)

What profits Maker?!?

You smokin' crack over there?!

MILES MAKER

No sir!

And I guarantee you'll make more

sharing profits on a free film like this

than you would taking a day rate on this one--

trust me.

JOE CREW

How so?

MILES MAKER

Donations and sales.

JOE CREW

You just said it was free.

MILES MAKER

It is for some people.

Free from some sources--for sale from others.

P2P, VOD, DVD--depends who or where you get it.

The Red Carpet Premiere

is gonna be a live streaming film screening event fundraiser

with a live performance by Ohene Cornelius and his band--

he's in the leading role.

Plus the Moviemakers' Edition DVD

will have an extended cut with extras

and outtakes and behind the scenes footage

with interviews and a case study for filmmakers

and that shit's gonna cost!

Donations will come in too--

the option to donate happens

when when you download the free movie.

JOE CREW

Why would anybody wanna pay

for something they already get for

FREE?

MILES MAKER

As a thank you.

To support the Art.

To support you.

To sustain my body of work

so I can produce more totally free movies!

JOE CREW

I don't know man.

MILES MAKER

Like I said--I do.

Trust me Joe.

You know I'm knee deep

in current trends and emerging technologies.

You know I know my shit

and the time is now.

I've been waiting for the right project

at the right time with the right formula

and the right Actors to pull it off,

plus crew people like you.

It's a perfect storm of opportunity bro.

JOE CREW

And there's no budget at all?

MILES MAKER

I'm fundraising to cover equipment

and crew expenses like meals

and transportation for the shoot--

but no day rates.

Union Actors get SAGIndie minimum.

Then everything the film makes

gets disbursed according to the model

from dollar one.

JOE CREW

What about recouping expenses?

MILES MAKER

They're nominal.

Everything's on paper for everyone to see.

I just started 'Brown Baby' fundraising

to raise enough to cover all the hard costs.

There's no executive producer--

no other investors, everything's transparent.

Every time I get a payout,

you'll get a copy and a check

for your share for the first year

after 'Brown Baby' gets released.

Silence.

MILES MAKER

C'mon you know me Joe.

You know what I'm about.

You see my work.

You see my commitment.

You know my story.

Just gimme a week of your life on set

and I'll do the rest.  Seriously.

Beat.

JOE CREW

Lemme think about it.

Send me the script.

MILES MAKER

Bullshit.

JOE CREW

Huh?

MILES MAKER

You're bullshittin' me.

JOE CREW

I'm serious.  I just wanna see--

MILES MAKER

Bullshit.  For what?

You're gonna have to trust me on this

'cuz the 'Brown Baby' script is carefully guarded.

My Actors don't even have the whole thing.

I can send you a link to the Facebook page

and the blog site--check it out.

But the bottom line here is

you're not working right now anyway right?

Your gear's collecting dust!

You think you'll be working in December January?

JOE CREW

December?

MILES MAKER

The slowest season for production

in the biz so you won't lose out

on a paying gig.

We'll wrap it up by mid-January.

JOE CREW

How many people on the crew?

MILES MAKER

Now you're asking the right questions!

We'll pay the makeup/stylist,

a script supervisor,

your boom op,

a grip

and a production assistant.

The core crew is myself,

the DP,

an AD,

a Gaffer,

and you for sound.

We'll insure everybody's gear too.

Total crew for 'Brown Baby' is 10 people

including a still photographer/blogger

for social media coverage.

Only half of the crew is profit-sharing though.

Silence.

MILES MAKER

Joe--think about the work I've already put in,

and here I am offering you a share

of pure profit potential.

The most you'll lose is a week out of your life

doing something you love to do,

but look at it from my perspective.

I'd rather have some of something than all of nothing

and I want you IN on this WITH me.

We're gonna shoot 'Brown Baby' like family man--

it's 2010.

It's time you became a producer.

Beat.

JOE CREW

Okay.  You got me.  Send me the links.

MILES MAKER

You got it.  Welcome aboard!

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Guerrilla Film never looked so Cute...

I've always been proud of my ability to make something out of nothing.  Filmmaking on a modest budget is not only challenging--it's also incredibly rewarding for me.  I've always been a left-winged thinker; a rebel--an outsider looking IN.  The mere thought of being that guy who delivered the 'little film that could' on a shoestring budget that resonated with audiences and propelled his career in the process motivates me every day.  

I've never had any money--not film money anyway.  Real film money is grotesque in so many ways--with so many hands in the pot there's too many cooks in the kitchen.  I prefer the Art of filmmaking--creative expression and a sense of accomplishment with the mere completion of your project at the top of an uphill battle.  THIS is why I make movies!  To tell my stories my way and to collaborate with who I want, when I want.  I WANT to make 'Brown Baby'!  Nuff said--

No Lights, No Budget, No Crew, No rehearsal, NO EXCUSES!

I'm a guerrilla film factionista.  I'm deeply and passionately involved in the independent film industry as a screenwriter, producer, director, camera operator and editor.  I've never had a film budget and it's never stopped me before, so why stop at a short film?  Why not go ALL the way?  Where is ALL THE WAY anyway?  I know where I want to go with my storytelling--but I simply don't have the means or the resources in time and manpower to do it all now, but I'll do my best with what I have.  Having said that, my production methods rely on talent, preparation and imagination.  My tactics are unconventional but effective.  I shoot with a small, experienced crew (when I can afford them) for stealth, speed and mobility in unexpected places to 'steal' the shot and keep it moving whenever possible.  Rather than relying on excessive production budgets, my investment is time, energy and a passion that can only be felt when you're doing something you love to do.  THIS is guerrilla filmmaking.  Money makes films, but it certainly can't make mine--at least not without me.

Film Producer and industry visioneer Ted Hope spit a mouthful of a manifesto entitled, "Take Back What is Already Yours: 'Best Practices' for a Complete Cinema."  I intend to reference his manifesto throughout all phases of 'Brown Baby' (including conceptually) from preproduction through post and beyond--building my 6 pillars and strengthening industry relationships.  I'll continue to use social networks to garner audience support, loyalty and a community resource base for the long haul, because that's the guerrilla warfare ideology.  Warfare?  Yes indeed!  We are at war with the media powers that be because they refuse to let US be.  Being that they intend to sever our supply chains and choke off our distribution channels and dry up our revenue streams we're in a war for our economic survival.  Lines have been drawn in the sand and the battlefield is the imminent domain we call cyberspace; knowing our audience(s) empowers us to produce films that satisfy their demands using current technology as a tool--our weapon of choice to wage this war.

Power to the People!

Guerrilla Film: "Problems" by Against Me from Miles Maker on Vimeo.

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Confessions of a Deadbeat Dad

A WORK IN PROGRESS

My name is Miles Maker--the Writer, Producer, Director, Camera Operator and Story Editor of "Brown Baby," my debut feature film. I am also an ex-husband, fiancé and father of seven children by six different women, and by all practical definitions--I am a deadbeat Dad.  


My journey isn't entirely unlike many other fathers with good intentions and bad choices who have subsequently lost their way.  I have two sons from my 4-year marriage--I was 29 when our first child was born.  I single-handedly destroyed my marriage and paid the price for a woman's scorn.  I was so detached I didn't even know she filed for the divorce until it was final, and the child support order issued by the court in my absence exceeded my income.  I didn't stand a chance--and once I fell behind…

Although I was an unfaithful and disrespectful husband, I never truly considered life AFTER marriage.  It was simply incomprehensible to me.  What an asshole I had become!  My world imploded around my mistakes while my decision-making digressed from poor to piss-poor.  I surrendered what little control I had left of my life in search of something I lost the day I broke my wedding vows.  I wandered the world—devaluing myself and countless women at every opportunity.  I jumped from city to city and woman to woman and bed to bed with everything I owned flung over my shoulder in an over-sized duffel bag.  I carelessly conspired with like minds and conceived three more children in three different countries over a six-year period I now refer to as my Dark Ages.

At each humiliating point in my life when I felt things certainly couldn't get any worse, I discovered I was sadly mistaken and sank even deeper into a self-loathing state of mind.  I blamed everything and everyone for my misfortune--running toward each new relationship for meaning and self-worth.  In hindsight, I acknowledge a blessing in disguise when my UK Visa expired and I was denied re-entry into the country and promptly banished to New York City on the next available flight.  I shrugged it off and checked into a homeless shelter on 4^th Street and Avenue D on the Lower East Side of Manhattan with $3.68 in my pocket.  Having nowhere else to go and nothing but time on my hands, I found myself writing again for the first time in a long time--with timely affect.  It forced me to stop running; to turn around and face myself.  I stared long and hard at my human condition; my weakness; my inner demon--and I chose to exorcise it.  


Ironically my first child is unknown to me.  He was given up for adoption without my knowledge or consent when I was 18 years old, and it plagues me to this day because I don't even know his name.  I was given up at birth myself and became a ward of the Waverly Childrens Home in Portland, Oregon.  I have yet to unravel the mystery of knowing who my own birth parents are, but I thank my mother every day for giving me life.  Despite the fact abortion was illegal (I was born before Roe vs. Wade), her selfless choice to carry me was hers alone to make.  I was raised under spirit-breaking conditions as an adopted child (to say the least) and I quickly learned to escape into fantasy novels and storytelling for comfort and solace.  If not for rediscovering my passion to write as an adult, I don’t know what might have become of me as a lonely homeless man.  I retreated to that safe familiar space inside myself--it grounded me and re-energized my soul.  I soon discovered my writing style had changed--after seeing so much my voice was visual.  I began to explore screenwriting—then filmmaking.  New York City became my home; a place to begin anew.  I began to forge a career-path as a filmmaker by setting attainable daily goals I could achieve and build upon.  I eventually left the shelter to squat in a friend’s dilapidated brownstone in Harlem in 2005.  Netflix became my film school while the ceiling  eroded above me—literally. 

I began to establish myself as brand--building on my passion and commitment to motion picture art and commerce. I have no idea where my tireless efforts will take me, but I'm committed to my professional success and realizing my full potential. Repairing my relationships with all of my children and their mothers and providing for them is of paramount importance to me. I myself  am quite comfortable living a lifestyle of modest means--I'm happy and content these days.  I prefer to live this way indefinitely; reinvesting in my children, my art and my communities from this point forward.

In learning to love myself again, I reopened the inevitable door to being love and be loved in the process--and yet another child is born.  He is my youngest (and perhaps my last) child, and she is my fiancé; we love and fully accept each other wholly and unconditionally--thus my concept of family is born.  I now truly understand and respect the concept of fatherhood; what being a father is all about, and the importance of a father in a child's life. My newfound appreciation for motherhood and the unfathomable void single mothers fill in a father's absence is enlightening. My daily role as caregiver for my son has also fostered maternalistic qualities in my personality, which has made a positive impact on my filmmaking philosophy to nurture our collective community of creatives.  

All of my problems are far from solved or resolved and the challenges I face are often daunting, but I feel good good about the man I am.  I take full responsibility for the man I wasn't and look forward to the man I will become.  My intentions are as good as they've always been but my priorities have changed.  Having said that, "Brown Baby" is a labor of love and commitment; uniting my passion for storytelling with my life's purpose to provide for and nurture my own children and mentoring others.  Although 'Brown Baby' is not a biographical film, I will nonetheless draw upon my own experiences in depicting the hopes, fears, failures and aspirations of fathers like myself who are simply seeking some inspiration and motivation to do the right thing.

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'Triple Threat' Ohene Cornelius to Star in 'Brown Baby'

Actor, musician and singer/songwriter Ohene Cornelius has been tapped to star in the leading role of Ellis Fareweather in "Brown Baby," the independent feature film written and directed by Miles Maker.  A talented and emerging recording artist and musician, Cornelius will also write and perform original music and produce the soundtrack for the film with his band, TheAtro Cities.

A New York native, Ohene Cornelius is a genuine triple threat, whose focus is acting. Raised in the turmoil of the 1980’s America, Ohene concentrated on after school programs to keep him off the drug ridden streets of Harlem. At 12, he studied the Saxophone and Ballet. At 13 he studied voice and tap dance. Upon graduating from PS 151, he was accepted into Boys’ Choir of Harlem (which he declined to go to the college bound school, Frederick Douglass Academy). At FDA he honed his athletics (volleyball, basketball and track), thought process (debate team, French team, and NFTE entrepreneurship program) and entertainment skills (beat box, rhyming poetry, and interned at Bay Street Theatre in Sag Harbor, Long Island). 

Ohene graduated from St. Lawrence University with a double major in Theater Arts and Creative Writing and studied for a year in London at University of Westminster and Shakespeare's Globe Theatre, interning at the famed Stanley House Recording Studio. He now plays the guitar, sings, is versed in modern and hip hop dance and consistently acts and teaches acting through drama therapy workshops to ‘at risk’ youth, all while being a dedicated father and husband.

Click to Play

His credits include, Nicholas Cage's "Kick Ass," "Law & Order: Criminal Intent," "Nike’s Hyper Dunk Commercial," “Subway Doowop singer’s Commercial,” Vladan Nikolic's, "Horizon” (Surla Films), and the short films: “The Ferry,” “I Want You,” (as seen on BET's, "Lens on Talent"), “Red Hook” and “Replayground.” He has also performed in the stage plays, "Auction Block to Hip Hop," "Platanos and Collard Greens,"  "Colored People’s Time" and other works with the repertory company, The Negro Ensemble Company in which he studied with reputable actors Charles Weldon, Erik Kilpatrick, and Barbarara Montgomery.

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