To Top

Meet Hunter Lee Hughes of Fatelink in West Hollywood

Today we’d like to introduce you to Hunter Lee Hughes.

Hunter Lee, can you briefly walk us through your story – how you started and how you got to where you are today.
I created Fatelink simply because I needed an entity to produce my first foray into content creation, a multi-media one-man show titled, “Fate of the Monarchs.” I thought it would be a temporary solution for a short-term project, but all these years later, we’ve produced three plays, a feature film, a short film, a comedy web series and more!

Overall, has it been relatively smooth? If not, what were some of the struggles along the way?
Like so many production companies, we face challenges raising funds for our projects and building an audience in a chaotic marketplace. Also, at times, building a project takes patience. Our debut feature film GUYS READING POEMS took five years to make from concept to distribution. But there’s something almost magical about which projects emerge and fight to come into existence.

Alright – so let’s talk business. Tell us about Fatelink – what should we know?
We create content. Our resume includes plays, short films, web television, and feature films. What sets us apart from other companies was an early radical inclusion of LGBT stories and characters. Also, we believe in the organic development of scripts, which means that we give each project time to develop.

We’re also very adamant about treating artists as respected collaborators and are proud of our history of working with wonderful talent like Alexander Dreymon, Patricia Velasquez, Laurence Fuller, Rebekah Brandes, Lydia Hearst, Christos Vasilopoulos, Dale Raoul, Rex Lee, and many others.

My philosophy in guiding content from the development process to distribution is that an artist’s job is to be a listener and interpreter for what the material wants to be, then work as hard as possible to execute that vision. It’s a strange way to go about things but works for me.

Any shoutouts? Who else deserves credit in this story – who has played a meaningful role?
In terms of mentors, I’d say painter Deni Ponty was a huge influence and early believer in my work. He empowered me to trust in my own taste, even when it goes against the grain, while always continuing to expose myself to new artists, authors, and films. He’s also a Jungian psychologist and his fluency with understanding and interpreting dreams showed me a new way of looking at the human psyche. For those who have the opportunity to see his paintings, please take it. He’s one of the incredible, underrated gems of the L.A. art scene.

Another huge cheerleader and comrade is my dear friend Angie Weiland-Crosby, a novelist who now lives in Maryland with her husband and daughter. Angie and I both understand the draw of the chaotic, creative energy, but also need quiet, meditative time to recharge and process. So, she supports me fully but also orders me to slow down or just go swimming, sometimes. She’s been a sounding board with sharp suggestions for each of the projects we’ve developed. We’re both INFP’s and it’s so important to have someone in your life who really understands your personality type and how you operate.

There are many, many others who’ve supported and strengthened my game as a content creator, most especially Alessandro Piersimoni, Patrick Kennelly, David J. Kruk, Michael Pessah, Shpetim Zero, and Nathaly Lopez. Mardik Martin taught me most of what I know about screenwriting and Ivana Chubbuck taught me most of what I know about acting, so they were both crucial in my development, too.

Contact Info:

Image Credit:

Michael Marius Pessah, Nathaniel Quinn, Alessandro Piersimoni, Ken Gonzales-Day, Patrick Kennelly

Getting in touch: VoyageLA is built on recommendations from the community; it’s how we uncover hidden gems, so if you know someone who deserves recognition please let us know here.

Leave a Reply

Your email address will not be published. Required fields are marked *

More in