Today we’d like to introduce you to David Kohner Zuckerman.
Alright, so thank you so much for sharing your story and insight with our readers. To kick things off, can you tell us a bit about how you got started?
David Kohner Zuckerman is the Writer/Director of the new stage play “Parallel Process.” Before that, David garnered experience as a Hollywood Producer with credits that include “A Perfect Christmas” (Hallmark), “The Fourth Noble Truth” (Shoreline), “Strictly Sexual” (Hulu), “All I Want for Christmas” (Hallmark) “Chump Change” (Miramax) & “Caught in the Act” (Lifetime). Prior to starting his production company, DKZ Films, David worked as a production assistant on the studio films “Assassination” (Charles Bronson) and “Best Seller” (James Woods/Brian Dennehy). He then ran Development for Silver Lion Films, where he worked on “Man on Fire” & “Crocodile Dundee in L.A.,” before selling a wheel of movies starring Lauren Holly to Lifetime. David is also the founder and owner of the very popular pitching platform, VirtualPitchFest.com, which provides screenwriters guaranteed access to Hollywood Pros. David comes from a family of filmmakers, including his mother Kathy, who was the inspiration for the book/movie/TV franchise “Gidget,” written by her father Frederick. Others in the clan include producer/director Pancho Kohner and filmmakers Paul & Chris Weitz.
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?
Definitely not. The road has had plenty of twists, stops, detours, and moments where I wondered if the GPS of my career was even turned on. I started at the very bottom as a production assistant on studio films, doing the kind of work that teaches you humility fast. It wasn’t glamorous, but it taught me discipline, patience, and how to stay committed even when no one is looking.
As I moved into producing, I quickly learned that Hollywood rarely hands you anything easily. Projects fall apart, financing evaporates, and even great ideas can stall for reasons no one can predict. There were periods where I had to completely reinvent myself and keep pushing forward solely on belief and perseverance. Those chapters were tough, but they were also the ones that shaped my resilience and forced me to grow the most.
Launching Virtual Pitch Fest was another huge leap. I created it because I believed writers deserved real access – and because producers needed a more streamlined way to discover strong material. But turning that vision into a trusted platform wasn’t easy. It took years of refining, proving, convincing, and staying committed even when progress came an inch at a time. Today, seeing VPF responsible for so many success stories – from studio films to indies with stars like Bruce Willis, Kevin Dillon, Megan Fox, Mel Gibson, Mickey Rourke, and others – makes every bit of that struggle worth it. Helping writers break through has become one of the most meaningful parts of my career.
And then there’s my family. Coming from a filmmaking lineage is both inspiring and humbling. My mother Kathy was the real-life inspiration for the “Gidget” book, movie, and TV franchise. My grandfather Frederick and my cousin Pancho Kohner were part of the storytelling world long before I showed up. Adding to to that, my father Marvin was an English professor who reinforced the value of story. Growing up around that kind of creativity was a gift, but it also set a high bar. There’s pride in continuing that tradition, but there’s also the very real desire to carve out my own voice and identity. That balance – honoring where I come from while forging my own path – has been one of the biggest and most rewarding journeys of all. So no, the road hasn’t been smooth, but the challenges sharpened me. They taught me endurance, curiosity, and the importance of staying committed even when the outcome is uncertain. “Parallel Process” is really the culmination of all those years – every setback, every breakthrough, every moment I chose to keep going. I’m very proud of the amazing reviews the play received. If folks want to check those out, they can go to www.parallelprocesstheplayreviews.com
Thanks for sharing that. So, maybe next you can tell us a bit more about your work?
I wear a few different hats, but at the heart of everything I do, I’m a storyteller. I’m a writer/director, a producer, and I’m also the founder of Virtual Pitch Fest. Each lane feeds the others, and together they’ve shaped the way I approach creativity, collaboration, and the business side of this industry. As a filmmaker and playwright, I tend to focus on character-driven stories – work that digs into psychology, emotional truth, and the complexities of human relationships. “Parallel Process” is a good example of that. It explores trauma, reconciliation, and what it takes to heal old wounds, especially within families. I’m drawn to material that isn’t afraid to go deep, that asks hard questions, and that ultimately aims to leave people feeling moved or changed in some way.
On the producing side, I’ve worked across a wide range of projects – from comedies like “Strictly Sexual” to dramas like “The Fourth Noble Truth” to Hallmark films and Miramax movies. That range has taught me how to adapt, how to solve problems fast, and how to bring people together in ways that feel collaborative instead of chaotic. Then there’s Virtual Pitch Fest, which has become one of the things I’m most proud of. I built it because I wanted to provide all writers – from beginners to WGA members – guaranteed access to Studios/Networks, Production Companies and Representatives. I am incredibly proud that the platform has led to success stories like the movie “Hot Seat.” It was pitched through VPF by Leonard Langford and Collin Watts to Emmett/Furla Oasis. The producers said “yes,” and the film ultimately landed at Lionsgate. I love that movie, and seeing it go from an online pitch to a full theatrical release was incredibly rewarding. Another is “Black Friday,” written by Andy Greskoviak, which got a wide release on Amazon. That one came together almost instantly. Andy pitched the script through VPF, and director Casey Tebo responded right away. A few months later, they were on set with Bruce Campbell, Michael Jai White, and Devon Sawa. It is unusual for a film to go from pitch to production so quickly, and it was exciting to see. “Midnight in the Switchgrass” is another project that means a lot to me. Alan Horsnail’s script became a Lionsgate thriller starring Bruce Willis, Megan Fox, and Emile Hirsch. Alan told me that what VPF offered him was something every writer wants but rarely gets – the certainty that their work will actually be read. Hearing that affirmed everything I’ve tried to build. And then there’s “Hunt Club.” John Saunders pitched it to producer Jessica Mathis through VPF. She loved it, optioned it, and produced the film with Mena Suvari, Mickey Rourke, and Casper Van Dien. Jessica later told me, “If it wasn’t for VPF, we would have never known about the project.” That one struck a chord because it’s exactly what the platform was designed to do: connect the right script to the right champion.
As far as what sets me apart, I think it’s the combination of both worlds: the artistic side and the entrepreneurial side. I’m as passionate about crafting a scene or directing an actor as I am about building systems that help other creatives succeed. I care deeply about story, but I also believe in access, fairness, and creating opportunities for people who might otherwise be overlooked. And I come from a filmmaking family, which has shaped a lot of my perspective. I grew up around people who believed that stories matter – that they can inspire, connect, and shift culture. But even with that legacy, I’ve always felt the need to carve out my own path, to create work that reflects my voice and values. That blend of heritage, independence, and purpose is a big part of what drives me. What I’m most proud of is that the work – whether it’s a film, a play, or a platform – has always been rooted in connection. Helping stories find their way into the world, and helping people find their way into the industry, is something I don’t take for granted.
Where do you see things going in the next 5-10 years?
We’re in a fascinating and unpredictable moment in history. The old gatekeeping model is fading. Technology has already democratized so much of the process, and it’s only accelerating. Whether it’s pitching, producing, financing, or distributing, the tools that used to be limited to studios are now accessible to independents across the board. Platforms like VPF were early in that movement – opening the door for writers to connect directly with decision-makers – and I see that trend expanding in ways we haven’t even imagined yet. I also hope there’s going to be a continued appetite for authentic voices and personal stories. That said, a lot of people in Hollywood are understandably nervous about how AI will reshape the industry. And truthfully, anyone who claims to know exactly what’s coming is guessing. We’re in the early stages of a technological shift that could influence everything from development and writing to casting, marketing, and distribution. For me, one of the biggest indicators to watch will be copyright and intellectual-property law. That’s going to determine how much protection human creators really have in the long run. If the laws continue to support human originality, authorship, and ownership – and reinforce that stories created by people carry unique value – then I think there’s reason to be hopeful. It allows filmmakers, writers, actors, and producers to coexist with the technology rather than be replaced by it. My overall hope is that audiences will always crave the human experience: nuance, emotion, imperfection, perspective, lived truth. AI might accelerate certain processes, but it can’t replicate that inner life that makes great storytelling resonate. So, I pray for a future where artists who lean into authenticity, courage, and personal voice will matter even more.
Contact Info:
Image Credits
Lua Rasga
