Alright – so today we’ve got the honor of introducing you to Daniel De Boulay. We think you’ll enjoy our conversation, we’ve shared it below.

Hi Daniel, thanks for joining us today. Learning the craft is often a unique journey from every creative – we’d love to hear about your journey and if knowing what you know now, you would have done anything differently to speed up the learning process.

Seek out folks smarter than you and ask questions. Maybe the only thing I’d say is, don’t care so much about coming off stupid. You learn more when you at more eager to look stupid and just suck it up and learn.

Daniel, before we move on to more of these sorts of questions, can you take some time to bring our readers up to speed on you and what you do?

Growing up, my household was strictly traditional; my father, a Trinidadian preacher, laid down the law on what we could watch. Secular TV was a no-go, but the classics from the library were our sanctuary. I fell hard for Douglas Sirk’s melodramas, films that not only sparked my love for cinema but taught me the power of visual storytelling and emotional depth.

I took that passion straight to my first gig out of college at Sony Pictures, where I was an Acquisitions executive buyer learning under the mentorship of Joe Matukewicz, Alex Zahn, Katie Anderson, and Steve Bersch. But since April, I’ve switched sides—I’m selling now where I used to shop.

What makes me different, I think, is my deep dive into film history, which informs my creative choices today. I hope I’m not stepping on toes here, but I aim for clarity, not offense.

Let’s be real: too many executives get into this game for the glamour, the perks of being close to stars. Not enough care about the actual art, the craft of shaping culture. They’re more interested in the shallow allure of celebrity status and the executive suite’s intangible benefits.

But who cares about your work perks and Rolex watch if your name sits on bad creative work? The work lasts forever. As the great philosopher Mike Tyson said, “We are nothing. We are dust.” So the only legacy is the inspiration you give to others.

An ego is something that can emerge when you’re eating fancy food by the Palais in the middle of the Cannes Film Festival. But your work shouldn’t be about chasing that or maintaining that. Your only legacy is the inspiration that you can provide others. Mike Tyson may be the greatest philosopher since Kierkegaard and Chesterton.

We often hear about learning lessons – but just as important is unlearning lessons. Have you ever had to unlearn a lesson?

Sometimes, the best thing you can do is slow down. I’m definitely the type of person who wants to always work as efficiently and quickly as possible. But you have to slow down and take your time. Oversights can pile up and become a huge problem.

Backstory? Imagine the worst!

But these little oversights can keep you away from your bigger long term goal. So stay focused, and take your time. Watch your expenses very closely.

How about pivoting – can you share the story of a time you’ve had to pivot?

Since April, I’ve been working as a producer on both film and television projects, immersing myself in the creative and collaborative aspects of development. It’s been an exciting time, albeit a challenging one, given the current uncertainties in the industry. Much of 2024 has been dedicated to meeting with partners, optioning compelling material, and developing projects with an eye toward their long-term market impact. It’s been incredibly rewarding to be, as I like to say, “on the other side of the war,” borrowing a phrase from Hamilton. Transitioning into this creative role has allowed me to flex my skills as a writer and storyteller.

Visiting open mics around Los Angeles, particularly at The Fourth Wall in Hollywood, has been a way to refine my craft as a writer. Performing in front of audiences helps me connect with other comedians, and find humor that enriches my writing and storytelling. This process reminds me of the importance of experimentation and real-world connection in all forms of creative work.

Before stepping into production, I had the privilege of serving as an acquisitions executive for Sony Pictures’ Worldwide Acquisitions for several years. This role gave me an understanding of audience trends and the business of content acquisition. For instance, working on the acquisition of Boxing Day, starring Aml Ameen, was a standout experience. It was during this time that I met Matthew Zamias, a pivotal collaboration that shaped my approach to evaluating stories with cultural and commercial resonance.

Building on that foundation, I’m currently developing several projects that aim to break new ground. One of the most exciting is a series I’m working on with Pavilion’s Gian Franco, set in a hotel resort in the Caribbean. We’re envisioning it as the Caribbean’s answer to “The Bear”—a layered and character-driven drama infused with the vibrancy of the region.

In another collaboration, I’m partnering with Nyla Hazratjee, known for The Persian Version (the Sundance Audience Award winner), to adapt the romantic comedy, “How to Cheat” by Teresa Conway.

Nyla brings such sharp insight to the material, and together we’re creating something that’s both true to the book’s loyal following and uniquely fresh for the screen.

As I’ve transitioned into development, I’ve been approaching projects with a buyer’s mindset, asking myself: What would I acquire? What would my colleagues find irresistible?

I remember when the script for “American Fiction” came into the office at Sony. It was one of those rare moments where every single person in the department was buzzing with excitement. The script was a breath of fresh air, a sharp, satirical take on the literary world and racial commodification that had everyone in the office discussing it with genuine enthusiasm. That day, the energy was electric; you could feel the joy and the shared appreciation for the work, making the workday not just productive but genuinely enjoyable. It was a testament to how powerful a well-crafted script can be in uniting and energizing a team.

I want to recreate that feeling for the executives as much as possible. Because I know what it means to feel that.

This philosophy has informed two unscripted projects I’m excited about—though I can’t share details yet, they both represent the kind of high-level packaging and talent alignment that defines success in the marketplace.

Beyond the entertainment industry, I’ve been contemplating pursuing a degree in economics, driven by my interest in the keiretsu framework. This economic model, which I researched during my time at Loyola Marymount, offers insights into how communities can foster sustainable opportunities. I’m particularly drawn to exploring how these frameworks might be adapted to create new opportunities for the African American and Caribbean diasporas.

Contact Info:

• Website: https://danieldeboulay.com
• Instagram: https://instagram.com/mrdeboulay
• Linkedin: https://linkedin.com/in/mrdeboulay
• Twitter: https://x.com/mrdeboulay