Meet Hunter Davis of Sherman Oaks

Today we’d like to introduce you to Hunter Davis.

Hi Hunter, so excited to have you on the platform. So before we get into questions about your work-life, maybe you can bring our readers up to speed on your story and how you got to where you are today?
I was born and raised outside the suburbs of Dallas, Texas. After high school I attended TCU in Fort Worth, TX. (go Frogs!) The Summer between my Junior and Senior year I snagged an internship at Misher Films on the Universal Lot doing script coverage…along with constant coffee runs. At the time, it was the greatest job ever. I was in heaven. In my element. Hook, line, and sinker. I almost didn’t go back to school, but luckily my Mom convinced me to return to TCU for my senior year. After graduating with a film degree, I moved back out to LA a few months later with my car, laptop, and the $2900 I had saved up from working random jobs over the Summer. Thank God for Craigslist Karma, which is a whole other wild story for another time. My life-long dream since I was ten years old was to live in LA, work in the film industry, and become a successful filmmaker. And like most in the industry, I’m still working on the last part.

Luckily, after moving to LA I landed some decent production work early on. This led to me getting hired by one of the premiere location agencies in California, Real to Reel Locations, Inc. Over the years, I’ve been fortunate enough to make a successful career from my work at Real to Reel being involved on the locations side of well over 500+ productions. (Features, TV series, commercials, etc.) As a veteran production specialist, I’ve had the pleasure of being interviewed by The Los Angeles Times, Fox Business News, NPR, and The San Fernando Business Journal for my professional insight on the various topics facing the California film industry, which as of late, has mostly involved the ongoing threat of runaway production.

My professional work in locations over the years provided the stable foundation necessary to allow me to pursue my other industry related goals as an aspiring writer/producer/filmmaker. And like most pursuing a career in entertainment, the ongoing objective is to just keep stacking projects, keep building momentum, and keep moving forward while elevating your craft and expanding your network until finally, someday, maybe, perhaps, if all the stars align… break out. An exhausting process that can take decades. I’m no exception.

My early career was all over the map. No branding. No strategy. Pure impulse. In my mid 20’s, I created a proof-of-concept comedy short with my friends called, Beer Pong: Beyond the Glory. The film was shot mockumentary style and followed a documentary crew covering an infamous underground beer pong tournament full of zany, over-the-top characters. The project was an absolute blast to make. A truly time in place moment. It was such a wild set. We had actual kegs of beer available on location. The biggest no-no ever for any production. (Crafty was literally a mini-party.) But at the time, we couldn’t afford to pay the 40+ extras needed for the wide shots, so free beer was the only way to get people there. I think everyone I knew back then was on set at some point. Getting to work with my friends and fellow creatives in a fast paced, improvisational, run-and-gun environment like that is something I’ll never forget. The film never got picked up, but it did lead to some legitimate general meetings with agents and managers, which at that time, I was absolutely not ready for…on any level. But we did have the DVD produced and sold the film independently with some decent success. We even got invited to attend several national beer pong tournaments like the World Series of Beer Pong for free. Good times!

A few years after that, I collaborated with many of my talented industry friends again (several of whom I worked with on Beer Pong and have gone on to become successful actors, editors, musicians, etc.) to create a comedic web series called, HELL. A. The series was in the vein of Entourage, but all struggle and no success. “Livin’ the Reality” was the tagline. Like Beer Pong, HELL. A. was a dream to make and an experience I’ll never forget. The main difference was that this production had higher budgets and higher stakes. At one point, we even shut down an entire residential street in an East LA neighborhood with police officers stopping traffic on either end to shoot a vehicle stunt where one of the characters was standing on the hood of a moving jeep while bashing in the window with a baseball bat. (Yeah, that happened.) It’s a miracle that nobody got hurt or injured. Sidebar, major shout out to Michael Lehr and Alvin Hsing, the primary stunt professionals on that shoot making sure everything went smoothly and safely, both of whom are now big-time successful stunt pros in their own right working on major films and TV shows.

HELL. A. had a good run online as well as a really solid festival circuit in the web series category. We had a few different independent producers come aboard with interest and eventually signed a couple of different shopping agreements on the project. We even had a few different formal pitches to networks, but ultimately, nothing ever came of it. But the memories and experiences from that shoot will last a lifetime.

My work on HELL. A. lead to me being hired to co-write and direct a few different productions, most notably an online commercial for a now defunct social media platform staring the late great Tom Sizemore (Saving Private Ryan, Blackhawk Down) and Gilbert Gottfried (Aladin). Working with those two legends of the silver screen was a special experience and something that I’ll never forget. So many incredible stories from that shoot. Too much to discuss here. All I can say is their legendary status did not disappoint.

And then there were a couple years when I suddenly decided I wanted to produce documentaries. (Definitely not the plan!) My long-time friend and fellow collaborator, Chris St. Pierre, who’s also a super talented/successful studio trailer editor, who was also a producer/editor on HELL.A & Beer Pong, partnered up with me to produce a heartfelt documentary about civilian life in war-torn Afghanistan called, Where My Heart Beats. A complete 180 from my work in comedy. The film followed successful Swedish journalist, Khazar Fatemi, who also directed the film, on her journey back home to visit the war-ravaged neighborhood where she was born for the first time in 20 years. We worked hard on the film and were extremely proud of it. Where My Heart Beats premiered at Raindance in London and was met with unanimous widespread acclaim. We couldn’t believe it. The film had a great run from there, ultimately leading to domestic and foreign distribution deals and was broadcast on TV networks all around the world. We were even invited to screen the film at the United Nations in New York, which was a truly moving experience, and one of the greatest honors of my life. However, even then, despite the film’s success, I knew documentaries were not for me in the long run, and I was ready to focus exclusively on narrative projects and becoming a professional screenwriter.

It was around this time that I decided to get very serious and introspective about my own screenwriting career and the craft of writing in general. I also needed to pivot to a completely different brand. Like many before me, I needed to have that quintessential “come to Jesus moment” of honesty with myself and where I wanted to go. It was clear at the time that in order to compete and stand out in arguably the most competitive marketplace imaginable, I needed to narrow/focus my creative brand and level up my craft by significant margins. Essentially, taking a big step back to ultimately take two steps forward. Eventually, after a ton of hard work and sacrifice…I did. I fast-tracked the proverbial 10,000 hours needed to get to a professional level of craft in just a few years’ time. My #1 regret is not doing this sooner. Craft is the foundation. There are no shortcuts. Whether writing, directing, acting, etc., there is no secret passage to bypass this all-encompassing fundamental block. (Which also conveniently happens to be one of the only things fully in one’s own control.) #CraftisKing!

Around 2016 is the first time I got paid for my writing. I optioned an original sci-fi action spec called, The Drome, which had garnered some considerable attention through screenplay contests and other industry professional reads. My journey with The Drome was a memorable one filled with the highest peaks and lowest valleys along the way. At one point, there was an A-list director attached to the script, studio producers involved, the DP from Crouching Tiger, Hidden Dragon on board, and much more. Producers on the project visited with major production companies in China and New Zealand who were interested in co-producing the project. At one point, it truly looked like The Drome was actually going to be greenlit at just under a $30MM budget. We were right on the doorstep. But in the end, an original IP like that just couldn’t get off the ground and the project eventually stalled and went into turnaround. As disappointing as this was, I learned a ton from the experience and I’m forever grateful to those who championed The Drome during those years for their unwavering faith in both me and the project. Being paid for my work was nice as well!

Over the next few years, I was fortunate enough to procure several more paid script options, along with landing an incredible entertainment attorney to represent me along the way. (Shout out to Hannah!) In 2024, I was lucky enough to team up with my long-time friend, and talented indy director, Bryan Bockbrader (VANished) to co-write a contained action spec called, Checkout. The script had a remarkable contest run that we didn’t see coming. This included a medal at PAGE International, one of the premiere screenwriting contests in the world. After accumulating several more top-tier accolades, the script earned placement on Coverfly’s All-Time Top Ten List showcasing the platforms overall highest rated “Red List” scripts in all genres. (Out of 353,866 total screenplays). This placement, in combination with the PAGE win, really catapulted us into a level of momentum for a script that neither of us had ever experienced. Checkout led to a plethora of general meetings with a variety of industry professionals, and ultimately a couple different parties interested in the rights to the script. This resulted in a paid option agreement for the rights, which Bryan and I were grateful to land. Aside from the option, Checkout was a game changing script in terms of the many doors it opened for us and continues to do so today. (I hope to have more positive updates on the film’s development later this year.)

As a writing/filmmaking team, aka, BBHD, Bryan and I also co-wrote and produced a contained crime thriller short called “A Little R&R,” (directed by Bryan) which premiered earlier this year at the Dances with Films Festival in Hollywood. The film, which doubles as a proof-of-concept piece, was one of the breakout shorts in the Midnight Series line-up, and will be available on various online platforms later this year. (Currently developing the feature version.)

Bryan and I are also currently in the process of formally shopping our follow-up action spec, BUSted, which was recently named a Top Ten Finalist in the renowned Roadmap Writers Top Tier competition. We hope to find a home for that project very soon.

One piece of advice I might suggest to other writers who’ve only ever worked alone is don’t be afraid to team up with a like-minded creative friend or colleague. It might not work out, but that’s okay. It’s good to flex that collaborative muscle. And worth trying for a variety of reasons. For starters, you can help motivate each other, which is always easier with another person than when working alone. And at the end of the day, this is a collaborative business, so being able to effectively collaborate and work together with other creatives (writers, producers, directors, etc.) is critical to advancing one’s own professional career. (And prove to others that you can do so.) Not to mention you can write off those drinks at the bar during your late night “collab sessions.”

I’m sure it wasn’t obstacle-free, but would you say the journey has been fairly smooth so far?
No smooth roads here. Constant speed bumps, loose gravel, and road hazards along the way. And the occasional sink hole! I think the vast majority of people trying to make it in this business experience countless struggles throughout their journey. It’s simply the price of admission. Or rather, the cost of ambition. It can take a toll for sure.

Rejection is a constant obstacle we all face. It’s never easy hearing no. However, it should honestly be expected in this business. Rejection inherently comes with the territory. However, for me personally, what’s really difficult to manage is when an industry player actually says “yes.” And then there’s suddenly a lot of momentum for a project, other attachments come on board, there’s realistic optimism, and then suddenly — it all comes crashing down. THIS is a whole different level of disappointment that so many others in my position have experienced throughout their careers. Like the big fish in the lake that got away, we’ve all got our go-to near miss tales. For most, the near misses are a rite of passage and something we all must cope with on our own. But boy does it sting. The initial gut punch is always the hardest. Like a girlfriend breaking up with you out of the blue. But you just have to keep going. Keep pushing through. On to the next one. They don’t tell you when you’re just starting out, but having thick skin is mandatory in the entertainment biz. Preferably rhino strength!

Another prominent obstacle/challenge that many face while pursuing a career in entertainment is balancing family life with one’s professional ambitions. The time and commitment to your own projects can often conflict with the essential obligations of trying to be a better husband, wife, father, mother, etc. For those with families, it can be a constant challenge. I know because I’m one of them!

I am lucky enough to have a loving and supporting wife (hey babe!) and two young boys who I love with all of my being. I’ve always said my family is the best thing I’ve ever done. No doubt, 100%. That being said, let’s be honest… raising two young rambunctious boys while trying to pursue a professional writing/filmmaking career ain’t easy. #challenge. There’s no specific playbook, or at least none I’m aware of, so you just do your best while trying to find the right work/family balance, which I think is the best any of us can hope for. But I will say, after becoming a father, I have the UPMOST respect for those parents out there actively pursuing their dreams while raising their children. Who needs sleep? We’ll sleep when we’re dead!

We’d be interested to hear your thoughts on luck and what role, if any, you feel it’s played for you?
I can’t speak for others, but in my humble opinion, the role of luck is one of four equally important components to finding success in entertainment, and I suppose just about any other competitive industry. Talent, craft, networking (who you know) and luck. Those are the four horsemen of achievement. Some of these are in your control, others are not. The luck factor is of course outside anyone’s control, however, I do strongly believe in order to benefit from pure luck, you have to be prepared to capitalize on it… before it happens. Whether in terms of craft readiness, project strength, or pitch prep, you have to be ready to maximize the opportunities presented to you by lady luck at all times.

Quick example. Bryan and I were at the Nashville Film Festival a couple years ago where we just happened to meet an Alaskan mountain guide turned prolific writer/producer named Colin Scott. Flash forward two years later, and Colin is one of the most promising up-and-coming writers out there with a dark horror/thriller film coming out early next year that everyone will be talking about in 2027. (Hush-hush for now.) Colin was subsequently signed by one of the biggest management companies in the world. After befriending each other and becoming big supporters (and fans) of each other’s work, Colin is now officially collaborating with us on multiple feature projects that will be formally shopped in early 2027. (I wish I was allowed to say more, but ask me again in January!)

Bryan and I met Colin that weekend in Nashville via a little dose of networking and a whole lot of dumb luck. Mostly out of our control. But…what was in our control was our project quality and craft readiness, which in this particular instance, really paid off.

I’ve also been on the receiving end of luck in my production work with Real to Reel on a number of occasions with introductions to prominent locations that went on to have successful film programs. You just never know who you’ll meet or how they might end up leading to promising outcomes for your career. (In any industry.) Luck is luck, but networking is a choice!

If we’re talking good luck, I guess we have to touch on bad luck as well, which is, of course, unavoidable. Some people are more lucky than others, and I’ve been on both sides of the coin many times in my career. (And life in general.) Regardless, all we can do is make our own luck the best we can, and be uber prepared to capitalize on any opportunities lady luck throws our way.

Contact Info:

• Instagram: @huntergun
• LinkedIn: https://www.linkedin.com/in/hunterdavis10/
• Other: https://pro.imdb.com/name/nm3416662/?ref_=hm_prof_nme