Check Out Adam Bloodgood’s Story

Today we’d like to introduce you to Adam Bloodgood.

Hi Adam, can you start by introducing yourself? We’d love to learn more about how you got to where you are today. 
Before attending the University of Southern California’s School of Cinematic Arts, I dedicated 25 years of my life to the art of ballet. After seeing my older perform in Nutcracker, I dedicated 12 years of my life to studying the art form and another 12 working as a professional ballet dancer, a job that allowed me to travel the world. 

One of my core memories is seeing my older brother, Paul Michael, perform in Pacific Northwest Ballet’s “Nutcracker.” He was a soldier in the production’s dramatically lit battle between oversized rats and the Nutcracker’s army of toy soldiers that featured loud pyrotechnic canons. This was my introduction to ballet, a far cry from the heart-shaped arms and twinkle-toes stereotype most commonly known in suburban America. From that day forward, I made it my life’s goal to perform on that stage. I went on to train at Pacific Northwest Ballet School for 12 years before embarking on my professional career as a ballet dancer. 

At home, I would watch concert videos of my dad’s metal band on a tube TV in the living room of our Seattle area townhouse. My dad was a heavy metal musician and a pastor of a small, non-denominational church. My mom had spent the 1980s touring with my dad’s band, handling their marketing and merchandising. 

My film journey officially commenced in 2000 when my parents gave me a Lego Studios set for Christmas. The kit came with a Lego film set, a webcam, and software that taught you how to use a non-linear editor. From day one, I was hooked. I would get up early in the morning so I could make movies before it was time for me to do my schoolwork (I was homeschooled at the time). 

Two years later, I started writing and recording music with my friend, Alex Church. Along with jamming and spending time in his dad’s recording studio, we would shoot movies and music videos on our DV tape camcorders, a foundational experience that taught me many of the filmmaking skills I use to this day. 

Every summer, I would visit my grandparents in LA. When I was 11, I went on the Universal Studios backlot tour for the first time and saw sets from Back to the Future. When I got home, I dusted an old VHS copy of the film I found buried in the garage, and my world was forever changed. Back to the Future resonated with me like no other film. I knew that whoever directed this movie had to have been the coolest, most badass physical embodiment of 1980s Hollywood. I was right. 

My late grandfather was a massive USC football fan. Something I had taken for granted up this this point. When I found out that Back to the Future director Robert Zemeckis went to USC’s film school, it sparked a special connection for me. Although ballet was my primary focus as the time, I always had a feeling that USC film school would be a part of my life when the time was right. 

For the next two decades, this part of my journey waited in the wings. After graduating from ballet school, I began working in film on the side. In the early 2010s, I helped my older brother, Paul Michael, with his first feature-length documentary, Trenches of Rock (2017). During production, we spent several weeks trucking around Seattle, capturing interviews and B-roll. I learned more on Trenches than on any other film I’ve worked on. It was the first project I had experienced going from conception to release. The film went on to premiere at the Atlanta Film Festival and has since won several accolades. 

In 2016, I moved to LA to pursue acting. I had recently signed with a commercial dance agent, and I was eager to get on set. That year, I worked on every kind of project imaginable, from dramas to sitcoms and everything in between. Although my parts were small, I loved every minute of it. During this phase, I hit it off with the crew so much that I began to question my choice of wanting to work in front of the camera exclusively. 

New opportunities in ballet took me away from la la land for a few years, but my love of film continued to grow. In 2020, my wife and I had just joined Ballet Fantastique in Eugene, Oregon. During the COVID lockdowns, the company decided to turn its American Christmas Carol production into a feature-length film. 

The company offered me the opportunity to dance the lead role and asked if I would help them produce the film. I was ecstatic. We created a small film crew consisting of whatever dancers weren’t needed on screen at the time and spent the next several months shooting all over Oregon. I loved every moment on that set. 

By this point in my career, I had to begin to think about my life after dance. I had always known that I wanted to go to school, but I had never really thought about what I would study. My positive experience working on American Christmas Carol gave me a crazy idea, “What if I applied for USC’s film school!?”. I shared this clinically insane thought with my now wife, Izzy, and to my surprise, she was very encouraging. 

Izzy agreed to be the lead in my entrance film, and I set off writing. Six months later, I was accepted into the program. I still cannot believe that my dream has materialized, and I will never take it for granted. 

I am currently in my sophomore year at USC’s School of Cinematic Arts. On the side, I work as a guest choreographer at Los Angeles Ballet Academy and creative tech support and the School of Cinematic Arts. On my breaks from school, shoot promotional materials and teach company class for Ballet Fantastique, where my wife is now a principal dancer. 

Alright, so let’s dig a little deeper into the story – has it been an easy path overall, and if not, what were the challenges you’ve had to overcome?
Life off-screen has had its challenges, but I’m fortunate to have been surrounded by the love and support of my family. 

When I was 13 years old, my dad suffered a spontaneous carotid artery that left him physically weakened and unable to speak above a whisper for over a year. I began taking the bus into downtown Seattle with my younger brother so we could continue going to our ballet lessons. When we came home at night, I helped my mom with the household chores while my dad was recovering. 

This period began a season of financial hardship that continued into my high school years. I had to grow up a lot in a short time during this period. However, it created a strong bond between my brother, Mark-David, and me that remains today. 

The choice to pursue ballet straight out of high school instead of going the traditional college route was not without its challenges. While it was primarily a career choice, it was convenient timing because I also didn’t have money to go to school. 

The life of a ballet dancer is challenging, and the working contracts are short (usually 16-38 weeks per year). These contracts are up for renewal every year, so job security is practically non-existent. Navigating this territory while staying in peak physical shape can be very draining. 

All this to say, ballet is not all doom and gloom. Ballet gave me a community that eventually introduced me to my best friend and the love of my life, my wife, Izzy. This is something I will always be thankful for. 

As you know, we’re big fans of you and your work. For our readers who might not be as familiar, what can you tell them about what you do?
I specialize in directing and producing. Since coming to USC, I have become the only undergraduate to produce multiple MFA thesis films. The films I worked on before coming to school have premiered at festivals such as the Atlanta Film Festival and have been nominated for the Pacific Northwest Emmy Awards. 

Off-screen, I work as a guest choreographer and lighting designer for Los Angeles Ballet Academy. In 2022, I choreographed a world premiere production of Nutcracker for the school. 

What sets me aside is the knowledge I bring into my film work from my experience as a professional ballet dancer and musician. The moment, vibrance, and life of these art forms have left their mark on me and will always inspire and infuse themselves into my work as a filmmaker. 

Where we are in life is often partly because of others. Who/what else deserves credit for how your story turned out?
First and foremost, I have to thank my wife, Izzy. She has loved me regardless of what challenges life has thrown at us. She has the ability to make me truly happy whenever we’re together. 

My older brother, Paul-Michael, has been my best friend and my inspiration since day one. Without him, I would not be where I am today. He introduced me to the films that inspired me to pursue a career in the industry. He is also my Floating Pockets bandmate. 

My younger brother, Mark-David, has always been my number one fan. He has always made me feel like a rockstar, even when I’ve had my moments of self-doubt. 

I obviously wouldn’t be here without my mother. She has always loved me unconditionally and made sure I could always be the person I wanted to be. 

My little English cream Dachshund, Daisy, has been my loyal companion. She gave me so much joy that made dancing through COVID and the stress of applying for schools feel like a breeze. 

Lastly, I would like to thank my late father, Michael Bloodgood. He loved me even when I didn’t deserve it. He introduced me to the art forms that would shape my life. His passion for music, movies, and all things “cool” was infectious. He always wanted a Bloodgood to go to USC. Every day, I do my best to honor his legacy. 

Contact Info:

• Website: adambloodgood.com
• Instagram: https://www.instagram.com/adambloodgood/
• Linkedin: https://www.linkedin.com/in/adambloodgood/

Image Credits
Bruno O’Hara
Bob Williams