Kelly Jo Brick: The Write Path With Vanessa Roth

A series of interviews with hard working writers – by another hard-working writer!


by Kelly Jo Brick

Aspiring writers often wonder how the pros got where they are. The truth is, everyone’s story is different, but there are some common elements: dedication, persistence and hard work.

Academy Award winning documentarian, Vanessa Roth, grew up in a filmmaking family, seeing the process of writing, being on set and watching as movies were being made.   From early on, Vanessa had a love storytelling and knew she wanted to do something that had a social impact.


I didn’t know that I wanted to do documentaries. I majored in Writing in college, actually Writing and Psychology and then decided to go to graduate school for Social Work and Family Law, not thinking that I would do either of those things, actually thinking I would do some kind of storytelling. I just always knew I wanted to do something that had some kind of social impact in the work that I did.

I think it’s just who I am. I grew up around a screenwriter, but also around a family who had a very strong sense of equity and justice and talked a lot about poverty and injustice and action and causes and things like that. My mom was an archeologist who talked a lot about the past and the importance of understanding roots and cultures and global views of things so it just kinda is who I am.


When I was in an internship for my social work degree, I met a lot of families that were going through the foster care system and I was really, really moved by the kids in the system and thought that they didn’t really have a voice. And it, sort of unexpected and not planned, brought me to the first documentary that I made. That was a great way for me to blend storytelling with real people and the access to people’s lives that I really couldn’t get in any other way.

It was called Taken In: The Lives of America’s Foster Children. I had gone to WNET, which is the New York PBS station, with it and they loved it and I ended up getting a lot of grants for the film. We won a duPont Award for that film which was great because I went into it very naively, not necessarily thinking that this was what I was going to do in my life, but that film really did catapult me into the world of documentaries really quickly.


I like it all. Everything I do sort of blends into each other and I don’t know if there’s really a strict line between me as writer, me as director, me as producer.

I see myself as the creator of these projects. I bring them to life and do everything I need to do to get that done. I’ve also found it really important, not just when I first started, but really even maybe more so know, is finding people to work with who are experts in what they do and for me to be really honest with myself about what I’m good at and what I need support in and what other people really need to take the lead in and I need to just be a good team player with them.

I’m writing and producing and directing of all the time to stay in line with the vision I have or the idea of how a story arc will be told. The editing stuff, I love that because I love piecing all of it together. But then I love directing because the directing, to me in a documentary world, is the relationships I have with the people in the film and the people I’m working with.


I do not and I think that it’s very difficult that I don’t. There may be documentary filmmakers who do have agents and I know a lot have commercial agents too, but I’ve found that for documentaries themselves, I have to be proactive on my own.

But I’ve always felt that I could be presented with a lot more opportunities if I did have an agent. I think it’s finding that kind of person. Documentaries don’t make much profit so they’re not like the big deals of television and film. I think that’s also partly my own fault for not pursing it enough because I’ve been lucky that I find projects that really interest me or that projects find me.


What I get pulled to usually are projects that have something to do with questions of equity. I do a lot of films that really end up being about child advocacy or voice for people who aren’t usually heard from.

And I’m drawn to projects, like right now I’m actually producing my first indie feature fiction project and working on a different one that I’m going to direct. They both are rooted in just real experience. The one I’m producing is about a high school, it’s about a teacher, their first year teaching and the model for the film that I was really attracted to when the director and writer had approached me about it, is that there’s a cast that will be playing the parts of the adult staff in the movie, but all the kids are just high school kids, not professional actors, and we’re working in collaboration with the school.

So I think for me, I’m just always drawn to telling a real story, having those relationships and trying to be as authentic as we can. A thing that draws me too, are just the people that I feel that I’m going to have an interesting and positive time working with.


Surround yourself with people who know more than you do. Also know what you’re good at and know what you’re not good at. The other main thing is just do it. If you have something that’s burning to get done, some idea, some vision, some concepts, some issue, something important to say, you just really need to go forward and make it happen, because waiting for someone else to give you the go ahead, it may come, it may come too late and it may come in a way you don’t really want.


I’m a big advocate for making things happen with resources that a person has in front of them. What kind of access do you have to the story? What is your relationship to the story? Do you know people in your community or in your business or in your family or friends in your life that you could talk to about this idea and start formulating it more?

People like to help and be involved with things, so again I think my advice is usually just start moving forward. Do the research you need to do. Write about what you envision. Imagine what this looks like when it is done. Gather people around you to be supportive and be part of your team to make this happen.

I also think it’s really valuable if a person just really wants experience understanding the process, there are a lot of independent documentary filmmakers and documentary film companies to get involved with. Most are very happy to have interns and production assistants and development people and research people.

Kelly Jo Brick is a Contributing Editor at TVWriter™. She’s a television and documentary writer and producer, as well as a winner of Scriptapalooza TV and a Sundance Fellow. Read more about her HERE.

Kelly Jo Brick Attends the Sundance Institute Film Financing Intensive


by Kelly Jo Brick

With research showing that film financing and going out to ask investors for money are big challenges for female independent filmmakers, Women In Film and Sundance Institute have teamed up for a Female Filmmakers Financing Intensive. Contributing Editor, Kelly Jo Brick, was one of the filmmakers selected to participate in this event. She shares these takeaways from her experience with the Financing Intensive.

1.  Creating opportunities: As part of a small group selected to workshop our current projects with Sundance advisors, I was quickly caught up in the energy and enthusiasm of those around me, both advisors and participants, real examples of people who aren’t waiting to be chosen, but are going out and making things happen, which is something anyone can do.

If you have an idea for a feature, short, documentary, television show, get to work. Research, outline, write, get your friends together and film. People are filming shorts with their iPhones. Develop a proof of concept and go out and raise money through crowdfunding or seek out investors. Look at projects you admire and reverse engineer, see how those projects were put together, learn from those and use them as a roadmap. There’s nothing holding you back.

2.  If you don’t know, ask: If you don’t know how to do something, seek out those people who do know and ask for advice. You’ll find that people are generally very willing to share advice.

3.  Don’t be afraid of the no: Don’t walk in to a meeting with a Plan B. This is something that women do a lot more often then men, but no matter who you are, stop going in with a backup plan. All this does is set you up for failure because you’re presetting yourself for a no. Energetically you’re cutting yourself off by thinking in advance that it won’t work.

Be positive, believe in your project and give your best. If someone doesn’t like it, want it or connect with it, that’s okay. They’re not your people. Learn from your experience and get ready for your next meeting.

4.  Leverage your success: When you’ve had success of any kind, use that momentum to keep moving forward. A completed film, selection to a festival, an award, getting funding, whatever it is, don’t stop there. Build on that success for your next project.

5.  Always be worthy of being looked at: Make any and every opportunity count by working hard and being authentic. When it comes to a project, let people see your tie in and passion for what you’re working on. If you’re not connected, how can someone else connect?

6.  Don’t hyper focus: When it comes to financing independent films, funding comes from all kinds of sources. Don’t lock in on one stream. Most projects find the most success by reaching out to multiple sources including grants, private equity, donations and crowdfunding.

7.  If you’re not doing it, someone else is: Go out and do it. Build on your strengths. Get help from people in the areas that are your weaknesses. Ask for funding.   Make your film. And don’t settle for a no. If you believe in it, go find a way.

Kelly Jo Brick is a Contributing Editor at TVWriter™. She’s a television and documentary writer and producer, as well as a winner of Scriptapalooza TV and a Sundance Fellow. Read more about her HERE.