What a ride and what a team. I could not have been more honored to work with the phenomenal cast, crew and creative team that brought all their talent, dedication, joy, and good will to the making of OUTRAGE (f/k/a Contempt for anyone following closely).

Article here.

This film came together quickly and I am ever grateful to the epic talents who spent their July/August bringing to life this timely, taught script (written by Marc Weinberg and Victoria Fraser). My producers Katie Maguire and Ellyn Vander Wyden made miracles happen, as did Stavroula Toska our co-producer/line producer. When I looked around the room on day 1, I saw people from over a decade worth of projects in New York, as well as some new faces that I hope to work with for decades more! Katie hired me on my first commercial. Reed was once my acting teacher ages ago (before he won every award under the sun). Ellyn managed a stage I had shot at many times (and where we made this film), Stavroula and our AD Rachel Wolak had worked together throughout COVID sometimes masked, sometimes totally remote! Production designer Lauren Helms and DP Ryan Jackson-Healy are both THE BEST and they’ve been my first call on so many projects since this film. 1st AC Steve Franchek and I had met in DC on a travel job filming Morgan Freeman while I was super pregnant and our HMU head Magda Buczkowska had bravely glamped with me on a short I directed (we had campfires at night, that were attended by skunks on one occasion). I’ve had her on every set I’ve been able to and she even did my makeup when I did a promo to announce a series I had created. Our safety coordinator Christian B. Leadley was my fight choreographer in a production of Electra I did years earlier, and I have more stories beyond this. I am still so very humbled that they shared this film with me. Our post team also was just incredible - editor Vee Pinot’s instincts were jaw-dropping and her diligence elevated the film enormously. Composer Michelle Sudduth’s score is so perfect— I mean every cue, and I am pretty specific about music. Weixin Zhuang poured so much attention and care into the sound design and mix, and colorist Denny Cooper at Unit in London brought such beauty to the film’s look. Having the input and guidance of an EP like Adam Kersh has been a true gift. We were also awarded the Reframe Stamp for gender-balanced production, although I will admit— about 75% of our HODs were women.

I could really give a small speech about every person on this set. Here is the full list of people on our team. I highly recommend hiring all of them!