Matt Jacobs, Marine and Actor

Matt Jacobs is a Active Reservist Armorer for the United State Marine Corps who has a passion for acting. DIBS talks to Matt about when it started, what happened along the way, and what has he learned.

DIBS: From my understanding, you want to be an actor? How far back does this passion go?

MATT: My passion for acting goes all the way back to my childhood days. I’ve always loved movies and did some high school plays. I’ve always imagined being in movies and becoming “BIG”, being able to have an impact and being role model to people around the world. 

DIBS: Why did you do Plan B and not Plan A?

MATT: I was choosing a path for film in college when I was going for a film degree at the Art Institute of Philadelphia.

While I was there, I interned as a Camera’s Assistant on a 50 Cent music video, Philadelphia Flyers Commercial, and a USA Network Commercial. While I was on set of the USA Network Commercial, I ate lunch with Jeff Goldblum and Matt Bomer. We talked about their acting careers and it turned into talking about the military.

DIBS: How did that conversation go with you, Jeff Goldblum and Matt Bomer?

MATT: The conversation started with just wanting to know how they started in the acting business and where they got their foot in the door. From there, it turned into them saying that they wished they had joined the military to help give them a way to serve their country and they advised me to do the same. It would transform in how I see the world, help me become a better man and have a better respect towards authority.

It was a unique experience and an ironic situation. Never had any intentions or desire to every join the military but one day, after eating out with a Marine recruiter, God changed my mind and course and I decided to join the Marines then. 

DIBS: What sort of acting debuts have you made so far?

MATT: I have debuted in the new upcoming M Night Shyamalan’s Glass (Coming January 18th 2019) starring Bruce Willis, Samuel L. Jackson and James McAvoy as the “Sniper.”

I also followed that up by appearing in the new Sylvester Stallone’s Creed 2 (Coming November 21st 2018) starring Michael B. Jordan as a Russian Officer. 

DIBS: Has the service taught you anything about working in the "Film Industry”?

MATT: The service taught me how to listen to authority and have patience and maturity through all circumstances

Also, the longevity of days, adapting and overcoming situations as they come and to stay positive when things don’t go your way. 

DIBS: Are there any similarities between being in the service and the film making world?

MATT: There are some similarities in the two businesses.

Speaking in front of an audience and being a leader type role in any situation are some major ones. Long days are another one and adapting to changes constantly. 

DIBS: Were you able to do any acting singing or dancing in the service?

MATT: My two acting debuts were while I’ve been in the service. No major singing or dancing opportunities yet. However, that won’t stop me from keep pursuing them all. 

DIBS: So you have been behind the camera and in front of the camera, is it safe to assume you prefer in front?

MATT: Oh most certainly in front of the screen. It’s been my life passion ever since I was little and being able to start my journey has become more than I expected.

DIBS: What do you like to do on your free time?

MATT: Hang out with my 3-year-old son, sing and record songs, watch movies, play sports and all around explore new places with my beautiful wife.

Filmmaker Keith Chamberlain

DIBS sat down with Filmmaker Keith Chamberlain, the Person behind Aquariarts Pictures, to talk about the success of Herrings Season 1, the challenges of an Independent Filmmaker, possible expectations of Season 2 and a few things in-between. 

DIBS: Give a synopsis of the show Herrings.

KEITH: Herrings is a dramatic thriller about two men who use the internet to disguise their clients’ digital footprint, which allows those clients to hide in plain sight.

DIBS: How did this series come about?

KEITH: About four years ago, I came across an article about a skip tracer who became a skip maker by using the internet to hide his clients’ digital footprint and thought it would make a great series. However, I was working on other projects and I forgot about it until 2015. Once I decided to make this my next project, it took me 2 years to break the story and another to cast the right actors. Once everything came together, the first episode took about 3 days to make. Now, here’s a  little bit of trivia, the first episode was originally a sizzle reel that I was going use to pitch Herrings as an hour-long show. However, when that fell through, I thought the story was too compelling to abandon and thus I adapted it as a short form web-series.

DIBS: What are the themes highlighted in Herrings?

KEITH: ·Season 1: Everyone has secrets and what some people are willing to do to keep them.

Season 2: Secrets may bring people closer... or tear them apart.

DIBS: Does the show Herrings say anything about the world we live in and if so, how?

KEITH: Definitely, this season, the show tackles timely issues like racial and gender discrimination, the MeToo movement, opioid addiction and the state of modern journalism in the digital era.

DIBS: Have you done other things besides Herrings?

KEITH: Prior to Herrings, I wrote, produced and directed four short films. I’ve also worked in shows and films like “Worthless”, “How to Get Away with Murder” and  “Paranoia”.

DIBS: In your opinion, what sort of stories are important to tell?

KEITH: Right now I’m drawn to drama and personal stuff.  Stories about people living real lives that aren’t afraid to be ugly, very in-your-face type of stuff. The characters in Herrings are complex individuals that just like real life, can garner your sympathy at one moment and your scorn at another.

DIBS: As an independent creator, what are some challenges that you face? And how do you overcome them?

KEITH: The two biggest challenges for me has been scheduling and money.  

A lot of the episodes are made based on the availability of the actors. There was a 16-month gap between Season 1 and 2, several of the actors are either no longer in the area, no longer acting or have moved on to other projects. There was also the matter of recasting certain roles and eliminating others that proved very challenging. Also, for Season 2, I had a definite end date of production and that, at times, conflicted with several of the actors, which is why some characters and their storylines are featured more than others. Trust me, there was a LOT of rewriting involved. In regards to money, while many of the cast and crew were fine working for free, I decided not to go that route for Season 2. This was one of the main factors for the 16-month gap as I wanted to pay my actors more than gas money for Season 2. Even though the budget for Season 2 is larger than Season 1, it was still relatively low and I was upfront about the budget with every D.P and Sound Mixer that I contacted. There were a few no’s but surprisingly there were quite a few yes’s. At the end of the day though, it all comes down to sheer will and a lot of faith.

DIBS: In your opinion, what defines success in filmmaking?

KEITH: When your film resonates with an audience, there’s no better feeling, in my opinion. Some filmmakers want name recognition, but I would much rather have my work recognized.  

DIBS: What sort of success has Season 1 brought?

KEITH: The show has won several awards, including Best Cast, Best Drama and Best Actor awards for both Dax Richardson and David Ogrodowski. Recently, the show was picked up by JivewiredTV,  a streaming television station launching on Apple TV in late June 2018.

DIBS: What can viewers expect in Season 2?

KEITH: Viewers can expect a more nuanced look at the characters introduced in Season 1 as well as several new characters that I think audiences will find equally, if not more, compelling.

DIBS: Lastly, in your opinion should filmmaking be used for entertainment or social change?  

KEITH:Why can’t you do both?

Keith Chamberlain is an award-winning filmmaker who currently resides in Blackwood, NJ. Since 2010,  he has written and/or directed several short films. His last short film, “The Burning Tree”, was both nominated and won at several film festivals, including Golden Door International Film Festival, Pittsburgh Uncut Film Festival, and Hang Onto Your Short Film Festival, among other venues. He also was the founder of the Dysfunctional Screenwriters Society, which from 2010 - 2015, paired local screenwriters from the Philadelphia area with actors for table-reads of their screenplays.

Stay tuned for Season 2 coming soon to the Internet


About Aquariarts Pictures : The goal of Aquariarts Pictures is to produce films, music videos, documentaries with other production companies as well as independent film investors to create challenging and powerful productions and bring those pictures to as wide an audience as possible.

Check out Season 1  HERE

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Still By Cristina Byrne

Still By Cristina Byrne

Still #1, #2, #3 are from Unnamed Photographers -  Still #4 by Cristina Byrne.

Filmmaker Samantha Paradise

Samantha Paradise, a candy-corn-binge-eating, giggling-at-poop-jokes, writer and filmmaker from the Philadelphia area focuses on strong, nontraditional female characters with her production company, FrankNBeans Films.

 Their most recent film, Homewreckers (a short), is currently in post-production.

DIBS: Could you describe the Independent Filmmakers of or in Philadelphia. Is there a scene? Do local filmmakers hang out together? 

SAM: The great hub of the Philadelphia film scene is our very supportive film office ( This is where filmmakers, actors, crew all find each other and can also keep up to date on what’s going on (festivals, productions, etc). While our film scene may be smaller than NYC, the size really does allow for knowing one another. I’ve met some really great people!

All filmmakers are different, but I love hanging out with other film folks. Great people who help one another out. 

DIBS: What’s harder: Getting started or being able to keep going?

SAM: I think most filmmakers would agree that keeping things moving is the biggest challenge. Making a movie is a lengthy process with various elements. It’s easy to want to quit if you’re knee deep in a part of the process that you don’t enjoy.

Lots of folks have great ideas and start the conversation about storyline, production, etc. However, it can be tough to weather through all the small projects that need to happen prior to shoot day (script planning, storyboarding, shot lists, casting, budgeting, etc). 

DIBS: That is true, there is a lot of planning, staying organized and communicating efficiently that happens in filmmaking. The audience only sees the final product but don’t realize or know about the amount of work that actually goes into it, the behind the scenes.

How much do you think commerce affects your art? And how much do you have to compromise as a filmmaker because of financial restrictions or business?

SAM: I'd rather be an independent filmmaker with zero creative restrictions (although there are financial ones) than a fully funded Hollywood director who is only allowed to make what will sell. Like all independent artists, I have hurdles when it comes to finances. My biggest frustration is usually that I'd like to be able to pay the cast and crew what they truly deserve, but that just isn't feasible without funding. 

A small, silver lining of having financial restrictions is the ability to flex a certain kind of creativity. It can be rewarding to figure out things like "how do I find a creepy house to shoot in for under $100?  Can I make my house look a certain way? Can I shoot in something abandoned? Do I know anyone?" It's a fun challenge.

DIBS: I would have to agree with you, I think there is a sense of resourcefulness or critical thinking that comes out when you have to work with what you got and or can afford. You expand your brain a bit, stretch it out and find solutions in places you might never have known until you were limited. You had to find another way to get what you were looking for and every once in a while, in most case when you do, you find a better solution.

What is the one mistake most filmmakers make, regardless of experience?

SAM:  You can never plan enough! We started pre-production on Homewreckers over a year ago, and despite my OCD databases and a phenomenal Assistant Director (such a blessing!), we still ran into some serious snags. Two production assistants canceled on the day of a shoot, a script supervisor ducked out the day before and the weather created a last minute schedule change. 

Back up plans are a must. 

DIBS: Do you think there are few women in filmmaking and, if so, why?

SAM: There are plenty of women in filmmaking, but very few of them end up directing (or in positions where they're calling the shots, like the Dir. of Photography). I love this question. In fact, I've answered it so often that I wrote an article about it (Unicorns with Baseball Hats: The Mythological Female Filmmaker). 

It always baffles me that I've seen male directors be completely unorganized on set, but the crew will only label them as being "eccentric" or "just really artsy." Any female director who has a rough shoot is "emotional" or a total mess.

Unfortunately, I've had male crew members direct over me every shoot because they don't trust me to handle the actors. Those are the moments I personally want to quit and fade into the background. I think this is why there's so many women in the "background" jobs (screenwriting, editing, makeup, etc.) 

DIBS: What do you mean by “can’t handle the actors” is there a way to “handle the actors?”

SAM:  Ahh, I suppose I should clarify. Direct them. The main job of the director is to focus on the actors to ensure they’re delivering the story & character correctly.

I’ve always been a fan of “not overdirecting.” I don’t direct just to hear my own voice, so if an actor is nailing it, let them keep going! Talented people don’t need to be micromanaged or you’ll kill their spirit.

I think this silence is when others may try and jump in. Almost as if they’re concerned I forgot to direct. That’s silly.

DIBS: Do you think any story can be told in a film? Is there a certain element of the storytelling that film does better?

SAM: I think the best films are the ones that were specifically written for film. Filmmakers focus on imagery and we want to tell you a story with colors, costumes, special effects and lighting we see in our heads. 

Sure, some books adapt nicely. But writers are gifted at weaving together words and you miss their magic by adapting it into a movie. 

DIBS: Does this Homewreckers say something about the world that we live in? and how or why.

SAM:  I'm hope it does. Although Homewreckers is short and fairly "light" in terms of content, I'd love to start a dialogue about the modern workplace. It's very broken. 

DIBS: So does art imitate life or does life imitate art?

SAM: I feel like I need to drink a nice whisky or smoke a cigar before answering this.

Don’t want to give away too much, so lets just say I hope no one experiences (or imitates) a Homewreckers scenario in real life. 

DIBS: So often we hear about the lack of original stories. That we’ve all “seen it before.” How do you stay fresh in the face of an idea like that? Or do you think its okay to tell a story that might have already been told but in a different setting or perspective?

SAM:  There is a ton of original content out there. Unfortunately, main stream media only funds movies that are remakes or based on superheroes. 

DIBS: Is it okay to produce stuff that isn’t that good? Or at the time might have been unexperienced.

SAM: Absolutely. No ones first film is going to be great. The important part is finishing the movie. You’ll learn from the process and be able to make a better one next time.

DIBS: Does how much money a film make, defines its success?

Success to me is if I made someone (even if it was just one person) feel something. Ideally the feeling of “Me too” or “I’m not alone.” My third flick, Conscious aimed for this and when anyone told me that movie helped them or impacted them, it was priceless. 

Homewreckers is targeting anyone in the working world. If you’ve ever felt like “shit, this isn’t fair” at work. Well, this one is for you.

...did I mention my day job is in Human Resources?

DIBS: What does independent filmmaking bring to a local community?

SAM:  New perspective, fresh ideas. We live in an era of unlimited access to entertainment, so if you’re bored with the mainstream, this would solve that problem.

Image by Cristina Byrne

Filmmaker and Director Samantha Paradise on the set of Homewreckers.