Today we’d like to introduce you to Claire McClain.
Hi Claire, thanks for joining us today. We’d love for you to start by introducing yourself.
Filmmaking wasn’t a possibility growing up in Missouri. I didn’t have any examples of filmmakers or actors in my sphere. I was a super imaginative kid and my mind was my sanctuary and playroom–really. I watched a lot of black and white movies. They had a big influence on me. “Angels with Dirty Faces” a James Cagney movie was on TV one night. It’s a gangster movie and he’s phenomenal in it–you can see he has more than technique, he has heart. I was probably 7 or 8 and I watched this and thought: “That’s what I’m going to do.” I didn’t know what “that” was, but I got into acting as a teenager. Just consumed films and tried to re-enact the scenes. It was still a solitary endeavor, you know, which is so funny to think about. I was still just practicing on my own. There weren’t a lot of other people I could act with or be creative with. I picked up other creative outlets that didn’t require other participants: painting, writing music, short stories, poetry–anything that could help me express myself. It wasn’t until I was an adult that I could really make a go at acting.
I moved to New York City to get an MFA (in acting) after I graduated college, started working here and there as an actor. I was bored with the characters I was being presented with in school and in the industry. I was coming into my queerness and seeing the roles for someone like me were meant to add texture basically. Nothing more. They were not prominent or consequential to the story most of the time. I kept after it. I booked commercials, a feature, some shorts that did really well, some theatre. My eye was on being great. Still trying to be as good as James Cagney, but in my own way, of course. It became clear after a while, if I was going to do this, I’d have to start writing and producing my own work. I had been reading scripts every day. I had this acting mentor that said “read scripts.” So, I did. As much as I could to get really familiar with structure, patterns–for auditions. I was doing it to make my auditions better under time constraints. My imagination started gaining structure as well. I started to understand how to write films I wanted to be in. That eventually led to writing my short film, “Riis,” which is about a group of friends at Jacob Riis Beach, a queer beach in New York City. I was really passionate about the project. I wrote, produced, and acted in it. The script was a quarter-finalist for the Screencraft Film Fund. It was one of the first scripts I had written. That was so cool and very affirming. We were an entirely queer crew and cast, which I’m very proud to say. So, we filmed during my last year in New York before I moved to L.A. The project has been in the festival circuit recently. At NewFest, we screened to a sold out theatre of 500 people. It’s been a real career highlight to see what resonated with that audience. Now, I’m working on funding for my next projects. I have features I am developing and a short. I’m producing a short animation as well. I’ve been somewhat bicoastal while “Riis” has been doing the festival circuit, but I’m excited to start some projects out west and to collaborate with creatives here in Los Angeles. I’ve met great people out here.
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?
“The course of true love never did run smooth”, right? I think that’s how I know I have dedicated myself to my passion. There have been so many hurdles on this career path, but I roll with it. Because I love it. I think the biggest obstacle is the lack of consistency and stability within the industry as a whole. Emerging filmmakers and actors–we’re weathering many storms. The influence of hyper capitalism on what gets produced, the pandemic, the strikes, the invasion of of A.I., an economic recession, censorship…etc. It’s intense. One of the biggest things to overcome is the pervasive hopelessness in the air right now. It’s hard not to feel it. There are so many reasons not to be in this impossible industry at this impossible time, but none of them outweigh the imperative of story right now. There are far more reasons for an artist to stay in the game. As far as personal challenges, I think the biggest is being as clear and as focused as possible on what it is I want to say and how to do it. There are so many things in our field of vision. So many messages and it’s hard to get quiet enough to hear your own perspective. That has taken the most time. For me, if I have a message to deliver, I can’t be stopped. I’m obsessive. I love it so much. So, I keep my head up and find my ways.
Alright, so let’s switch gears a bit and talk business. What should we know about your work?
I’m an actor and filmmaker. I specialize in queer stories. My short film, “Riis” is doing the festival circuit this year. I’m so proud of that project. I’m highly collaborative as a filmmaker. I think you have to be. It’s not just your thing when you’re on set. As much as I care about my vision and voice, I have to foster the environment for other people to feel that their perspective is not only, of interest, but necessary. It makes the process so much more alive and the result feel more lived in.
I’m also an acting and audition coach. The same applies when I am in that role. I work with actors to mine what their unique perspective is, I give them the tools to make their philosophy shine through and ultimately to present the version of themselves and the scene that they believe in. If you’re hating your auditions, hit me up! You’ll love it!
What sort of changes are you expecting over the next 5-10 years?
Oh, man I don’t know about 10 years, but I think the independent film world is going to deliver absolute bangers in the next few years. I’ve seen extraordinary talent at these festivals. There are up-and-comers that know how to do a lot with a little. They’re innovative and agile with the way they tell stories. Because mono culture has become so infrequent, the relationship between filmmaker and audience has changed. It’s not about the story that satisfies everyone. It’s about the smaller, but consistent engagement from an audience that recognizes themselves in what you’re talking about. Independent film is built for that.
New ways of distribution with niche markets is another thing that comes to mind. Like creators distributing straight to their own audience on social media is an obvious one. Writer-performers that are going to totally interrupt and reinvent the vertical market. We have technology that brings down the cost of production right now so that will swing in favor of the no budget filmmaker. There is absolutely a buzz in that scene. It’s cool.
Long term, I don’t know. We’re all worried about A.I. I think it’s up to us how that goes.
Pricing:
- Audition/acting coaching is sliding scale: $40 – $125 per session. You can inquire on my website or IG @clairemcclain!
- For acting stuff, here are my reps: [email protected] and [email protected]
- For writing or producing reach out on my website or reach out on IG @clairemcclain
Contact Info:
- Website: https://clairemcclain.com
- Instagram: @clairemcclain
Image Credits
Mettie Ostrowski
YellowBelly LA
