Today we’d like to introduce you to Zach Tirone.
Hi Zach, we’d love for you to start by introducing yourself.
I knew from an early age that a traditional lifestyle would not be for me. So, I started out by studying acting at theatre conservatories in both Chicago and New York. That training gave me a foundation and curiosity to (hopefully) have the mindset of a student every day for the rest of my life. I discovered I was inclined not only to act but to direct, and put time and energy into both endeavors for several years. Despite an impostor syndrome-style detour working as a corporate sommelier and beverage director (which, btw, was a great way to ruin a good hobby), I knew that my calling was in (and I really hate the overuse of this word) storytelling. At the end of acting school, some of the instructors told us that if we weren’t finding the roles we wanted, we should create our own art. At the time, I didn’t really know what that meant. After some hearty life experience and a few tough curveballs, that advice made much more sense. I had always written things throughout my whole life, but I never really considered myself a writer. However, I wanted more object permanence with my work – as theatre can be fleeting – so I began writing on spec full-time for film and television. I found some amazing mentors and teachers along the way (shoutout Scriptnotes Podcast), as well as peers of mine pursuing the same path. As I honed my craft, I was able to have more control over my own creative pursuits. Each script ended up serving a function, but ultimately, every single one helped make me a better writer. I knew this endeavor would (begrudgingly) take me away from my home of many, many years, New York City, and put me straight on a path to LA. Once I made peace with that inevitability and made the move, things continued to move in the right direction. Luckily, I was able to get my scripts in the hands of the right people, which led me to get repped. During the recent WGA and SAG strike, I wrote and acted in a solo show, SHOOTING MYSELF IN THE KNEECAP, which played to a sold-out run here at LA’s Hudson Theatres. That experience was extremely challenging but rewarding, and best of all, it led to some new projects. I now work as a Showrunner’s Assistant (to a wonderful artist and special human) and am fortunate to help collaborate on a beloved streaming show!
We all face challenges, but looking back would you describe it as a relatively smooth road?
Ha! Not at all. I think working in – or finding work in – the entertainment industry is a marathon, not a sprint. And having an honest conversation with yourself about how long you’re willing to give it really helps with your mindset. In addition to the hurdles normal life throws at you, this industry is informed by so many things that are out of your control. The innate unpredictability of an art form (but really a business) run by people afraid of losing their jobs doesn’t mean you’re gonna always be set up for success – even when it seems like you do all the right things. I think the details of what the struggles were (and still are) are less important than the response that can best counteract them. So, you control what you can. Network every chance you get. Follow up. Actively support and show up for others like yourself. Learn to trust your own voice. Don’t chase trends. Work on getting better faster. Take the side hustle without any shame. Make time to take breaks from the industry for the sake of your own mental health. Ask for what you want, but don’t expect it to happen overnight. Focus on your own creative output by any and all means necessary. Be NICE. Ultimately, you have to put in the work. And I know everyone says this, but you really have to live it. And that means saying no to other things – fun things, usually – which isn’t always easy.
Appreciate you sharing that. What else should we know about what you do?
My focus is on the creation of film, television, and theatre as a writer, director, and actor. Those are the three main roles I serve best, but I try to make it my business to know a little bit about everything. Fortunately, as a showrunner assistant who also sits in on the writer’s room, I have access to see how a project is made from top to bottom. And I think that’s one of the things that sets me apart from others – if you put me on a set or a stage, I can hop into most roles. And I try to take that viewpoint of the macro vision into account before I write one word. I take pride in all of my work, but I’m trying to become increasingly more comfortable talking about it. I think creating authentic stories that reflect the people and worlds I’m connected to in Chicago and New York is a real point of satisfaction. And that’s not a job I take on lightly. My writing usually centers around crime, politics, history, and street vs. social justice, all with a splash of dark comedy. It’s a fun sandbox to play in, and I was able to bring that to my solo show SHOOTING MYSELF IN THE KNEECAP. That was an immensely gratifying experience, creating a timely piece of stage work from the ground up that centered around American politics and mental health in the current age of the internet. I really owe a lot to Eric Bogosian for creating the template for that sort of theatre. Having filmed the ‘KNEECAP’ production as well, it’s nice to now see it have a second life online. I’ve been asked to bring the show back, but we’ll have to see what happens…
In terms of your work and the industry, what are some of the changes you are expecting to see over the next five to ten years?
Oh man. Feels like every day there’s another big shift. I think the entertainment industry is ever-changing. I’m pretty uncomfortable with social media, but I’ve pushed to have a website (which feels silly as a screenwriter) and Instagram for my solo show, so people can at least find me online. I think we’ll see social media drive more creative decisions, for better or worse. Even more concerning is the replacement of jobs (e.g., writer’s assistants) with AI. No robot can bring to the table what a human can – for a creative role. In terms of the nuts and bolts of film and television, I am concerned about the sustainability of the theatrical and streaming model in the age of giant mergers. When creative programming decisions are influenced by the federal government, the blaring of the alarm bell should be loud and clear. Creatives and executives will simply have to adapt to these changes. Nevertheless, I am hopeful that we might see a return to longer TV season orders. My generation and the one below us aren’t really given the same opportunities that television provided fifteen to twenty years ago, so I am concerned about how we’re educating the next generation of showrunners. Studios have to step up, which means allowing for diverse writers room that aren’t limited to one person or a tiny number of people, as well as sending writers to set to learn production. What won’t change is that people love and will watch a compelling story, in any medium made available.
Contact Info:
- Website: https://www.zachtirone.com/
- Instagram: https://www.instagram.com/kneecap_play/
- LinkedIn: https://www.linkedin.com/in/zach-tirone-8084021b8/
- Twitter: https://twitter.com/ZachTirone
- Youtube: https://www.youtube.com/@kneecap_play
Image Credits
Headshot photography by James Banasiak.
Production photography by Abel Armas Photography.
Graphic Art Images by Jess Hyrniewicki.
