We were lucky to catch up with Gerald Decker recently and have shared our conversation below.

Alright, Gerald thanks for taking the time to share your stories and insights with us today. We’d love to hear about a project that you’ve worked on that’s meant a lot to you.

My most meaningful project I’ve worked on has to be my newest film, Cul-De-Sac. I was at a very dark period of my life and nothing seemed to be working out for me and I knew that if I didn’t do something to change my story I’d whither and die creatively. I decided I really needed to make a new film without compromise so at the very least I’d know that I had given my dreams every ounce of myself and no matter what happened I wouldn’t’ have any regrets. I didn’t even have an idea of what exactly the film would be, but I knew that if I opened up the idea that there was a film inside me I could make with no money I’d find it. I gave myself a deadline, set up a detailed calendar, and spent the first week opening my mind to whatever came my way. What came to be was a story about very desperate people forced to weigh the value of two lives and choose which was worth saving. At the center of this struggle was a young woman with Down Syndrome. I’m not sure why I made that decision at the time but if felt right. Then while casting the film I met Erin Hurley at the very last moment. And to be honest once I did I knew I had made the right choice. And working with the very special actress elevated the entire film and brought meaning not only in the films message but personally for me and the entire cast and crew. It was an unforgettable experience and I’m glad I took the chances I did to make it happen.

As always, we appreciate you sharing your insights and we’ve got a few more questions for you, but before we get to all of that can you take a minute to introduce yourself and give our readers some of your back background and context?

I’ve been making narrative films ever since I was in high school back in the 80’s when we did it all on film. I then went to community college because I couldn’t get into or afford film school. It was a good experience and I learned the craft of filmmaking, again in film. I shot short films on 16mm, got into film festivals, then even worked at an industrial film company for a year. None of this in Los Angeles so it felt very far away from “Hollywood” and real films. By now I had a portfolio and applied to a few art schools because my work was on the independent side of things and got into CalArts which got me out to LA. I directed more films, wrote scripts, got an agent, took meetings, all the usual things but it was very slow going and in the meantime while I tried to get my own films made I started writing television documentaries. Then I started editing documentaries. And filming documentaries. And before I knew it I was a Showrunner for documentary series for places like Discovery, National Geographic and even SyFy. It was a pretty fast rise though the ranks and I ended up as an Executive Producer at National Geographic. But while I was successful I wasn’t making the films I wanted to make and it was harder now that I was established in Non-Fiction. Two very different worlds. So every chance I got I used my own money and made short films. I wrote more scripts. I even had a few films get very close to being made but something always fell through at the end, which brings me to Cul-De-Sac. I was going to do that with my own money so no one could tell me no.

Can you share a story from your journey that illustrates your resilience?

The fact that I am here at 59 risking everything to make one film in the hopes it leads to others, but not caring if this turns out to be the last thing I do. I spent all my life savings and my entire retirement at a time when most people are playing things safe. In a world and in a time when youth is celebrated and people my age are considered obsolete. That was a huge risk and I don’t know if it will even pay off. But I also knew I didn’t have time to go down a traditional path. That can take years. This film needed to happen now and I was willing to do whatever it took to get it made, even if I had to do everything myself. But at the same time I wouldn’t compromise. I needed an actress who would shave her head for almost no money. An actress who would have to live for a while as a bald actress! And it did not look like it was going to happen but I didn’t even slow down. I thought if I truly believe in this, I’d find someone with the same passion who would take the risk with me. It did go down to the last minute but I found Makayla McIntosh and she agreed and poured her soul into the role. I remember the day I shaved her head thinking I can’t believe this is happening. The same with Erin. I was a couple weeks from our start date and I couldn’t find an actress with Down Syndrome then I got a message on Backstage and another actress said she knew someone. I emailed her immediately and the next day were were on a Zoom. Erin lived way upstate so I have to get her and her mother and caregiver to Brooklyn and put them up but it was worth every penny and I’m so happy I didn’t give up on my vision and what I knew that the film needed.

Looking back, are there any resources you wish you knew about earlier in your creative journey?

I’d say people over equipment. I’ve always been a very DIY filmmaker. I invested in equipment so I could do everything myself. I even act in a lot of my films. I’d set up a camera, run out and act out the scene, then turn the camera off. I thought as long as I had equipment I could do what I wanted, but I wasn’t trying to be a cinematographer so there really was no point. And over the years I slowly sold off all my equipment so on Cul-De-Sac I turned to people for everything. My DP David Vlasits brought all his gear. His friend gave us gear. I didn’t really have to worry about that. It was the people I turned to for help that made the film possible. I never needed all the gear. I didn’t need to do everything myself if I found people who were as passionate as me. They would help me make the film. Those relationships were far more important than any camera or light I ever owned. If I could go back I would approach every film differently and cultivated relationships. And not only didn’t I have to compromise, the people who worked on Cul-De-Sac actually made that vision better. Someone recently asked me what kind of camera do they need to make a film. It doesn’t matter. Find someone who has a camera and loves shooting with it. Unless you’re a DP or renting out your kit don’t bother buying. Pay a DP and you’ll spend far less and get so much more. Not only will you get a camera, you’ll get a creative partner.

Contact Info:

• Instagram: https://www.instagram.com/geraldalandecker/
• Other: https://vimeo.com/filmcrimes