In this captivating interview, we delve into the multifaceted world of Andrew Boszhardt, an artist whose journey intertwines the realms of acting, writing and producing. Boszhardt's narrative unfolds as a testament to the symbiotic relationship between these creative disciplines, each informing and enriching the others in a seamless dance of artistic expression.

Can you share with us your journey into the world of acting, writing, and producing? What inspired you to pursue a career in all three fields?
I’ve wanted to make movies since I was ten. I remember seeing “Star Wars: A New Hope” for the first time…watching Han Solo wield his blaster and Luke Skywalker wield his lightsaber and thinking - I want to do that! Might sound silly, but it’s the truth.

Nonetheless, I cast my dream aside for a safer and more traditional path after college. I worked with startups and did Venture Capital for a few years.

Then life gently nudged me and reminded me of my dream in a very funny way. I had a strange idea one day to take an improv comedy class (PSA, everyone should take one) in order to improve my pitching and “soft business skills”. I quickly became addicted and after half a year of doing improv every night and taking acting classes on the weekends I decided to commit to acting full-time and enrolled in a 2-year conservatory program at Maggie Flanigan — a fantastic Meisner-based acting school here in (New York City)…though I am now studying Strasberg (Method acting) so I might be considered a bit of a traitor.

I started off solely as an actor (it is still my favorite and primary discipline of the three) but being entrepreneurial by nature I questioned if the more “traditional” acting path of simply grinding out auditions and slowly building up credits was the best way to go about it.

“Good Will Hunting” is one of my favorite movies. I looked at what Damon and Affleck were able to do for their acting careers with a fantastic script. I realized that that was where leverage started. Producers and studios will do anything for a truly great, original, and (of course) commercial story… They are rare! If you can write a script and sell it or raise the money, with a nice role in there for you (lead or supporting), then you’ll always have an acting job. So, during Covid 19, I started to spend half of my days writing and reading scripts.

Three years ago Otto Eckstein and I teamed up and decided to write and produce a horror/ thriller film (that I would also act in). That script became “Breed of Greed,” which we just finished post-production on. I starred in the film alongside Gina Gershon, Adrian Enscoe, Chelsea Gilligan, and Madison Lewis amongst others. We were lucky to get a tremendous, highly experienced director who understood our vision and flawlessly executed it — Ralph Hemecker.

I basically now split my time between auditioning for other people’s projects and developing my own. I do think auditioning is super important — you want as many people as possible to see your work and it’s all about shots on goal.

As someone who wears multiple hats in the industry, how do you balance the demands of acting, writing, and producing?
Focusing on the task at hand. When I am writing, I am only writing. When I am acting, I am only acting. And when I’m doing producing stuff…you get the picture.

I approach the arts with an athlete’s mentality. JUST DO THE WORK. And do it every day. I work Saturdays and Sundays too and probably don’t take more than a week or two (total) of vacation a year. And even when I’m “on vacation,” I’m reading like crazy and usually writing. I like Jeff Bezos’s idea of “work/life harmony” vs. “work/ life balance.” If you love what you do, why would you need a balance? Work and life mesh together.

(By the way), all of my “business” and “corporate” experience/ skills are now quite useful when it comes to producing.

Sounds so trite but the saying “it all happens for a reason,” is oftentimes quite true…

New York City is renowned for its vibrant arts scene. How has being based in NYC influenced your creative process and career trajectory?
There is an innate grit and hustle in this city. It’s palpable. It’s intoxicating. People here are constantly grinding, moving mountains, and pursuing their dreams. I am constantly productive and motivated here.

The city is also incredibly diverse, and I love that all my friends aren’t just creatives. To be sure, a lot of them are, but I also spend time with lawyers, (venture capitalists), athletes, curators, etc. Spending time with a range of people with different backgrounds, professions and ethnicities has made me a more well-rounded and empathetic artist.

I am committed to being a New York artist and strengthening the artistic community here. Even on a brutally cold day in February, there’s no place I’d rather be than New York.

Could you highlight a particularly memorable project you've worked on, either as an actor, writer or producer and what made it stand out for you?
I’ll talk about “Breed of Greed” because that’s my most recent project and, by far, the one that I was most creatively and personally involved in.

Well, for starters, I fully jumped into the deep end without knowing how to swim and, yet, managed not to drown. Did I (proverbially) take some punches to the face? You betcha, but we still managed to get a fantastic product. I also probably received ten years worth of experience and education in two. I’ll give you a few examples of what I learned.

Being involved in the editing process and seeing what we cut has made me a much better writer. On my scripts I now have a better understanding of what is redundant, expository and what will probably get cut in the end.
Let me just say this — for the most part, I do not enjoy watching myself on-camera. And I know that I’m in good company — Tom Hanks, Meryl Streep, Javier Bardem…the list goes on and on. These actors and actresses hate watching themselves and almost never do. The joy is in creating the character and giving the performance. Nonetheless, I learned a ton by watching my performance, the takes that were chosen and how the performance is sculpted in the edit. When you’re on set, you want to give the editor as much to choose from as possible, so it’s important that every take is different from the others in some way.
You need to have a producer who is a bit of a penny pincher. You need someone there who can play “bad cop” to your director, cast and crew. Now, I’m not advocating that you hire someone who is just plain mean and malicious, but you do need someone who is a bit like General Patton because sometimes making a movie can feel like herding cats. There are so many people involved, so many variables and so much money is on the line. When writing a script, now I also have a sense of how expensive certain scenes and elements are going to be. (Hint: keep the number of locations as low as possible!)

In what ways do you think the role of the writer and actor-producer is evolving in today's entertainment landscape?
More and more we’re seeing creatives who wear multiple hats. I really am a firm believer in the mantra that you make your own luck...you make your own opportunities. I had just finished acting school and signed with a top manager when COVID hit. I was so ready to start auditioning, yet the industry was in lockdown with the rest of the world. After a few days of being completely depressed, I decided that I would use this time to really learn how to screen write. So, I would write for six to eight hours a day and then read at least one script before bed. That decision and dedication changed my life.

I always tell actors—write a script! Just write one and see if you like it and have a natural talent for writing. And guess what? That first draft will probably suck. I know my first drafts still do. Hemingway said, “the first draft of anything is shit.” Hemingway said that! Aaron Sorkin says he’s still terrified when he sits down to start a new project. Just do it!

Collaboration is key in the industry. Can you discuss the importance of teamwork and building relationships with fellow artists and industry professionals?
New York is a wonderfully collaborative town. Film is probably the most collaborative industry in existence. It is literally impossible to do it on your own. For all his glory and brilliance, Stanley Kubrick still had a brilliant [director of photography] who beautifully lit his films. Without Tom Cruise and Nicole Kidman, there would be no “Eyes Wide Shut” (Kubrick’s most underrated film, [in my opinion]).

In my experience, New York artists are much more open to collaboration, connection and mentorship. Send a cold email. Be sincere and ask for help. You’d be shocked at how willing people are to help here. All you have to do is ask. At the same time, it’s important to show you’re earnest, hardworking and serious about your craft. People here can smell bullshit. Yeah, you’re in acting class but you show up hungover and not knowing your lines. Don’t be that person. Also, consider how you can be of service to others. How can you make their life better; how can you aid them in their own creative pursuits, etc.?

PhotoBook Magazine celebrates the essence of New York City's culture. How do you see yourself contributing to and representing the spirit of NYC through your work?
I believe that my work, especially my writing, has a strong New York sensibility. The play that I’m now developing will, I’m confident, resonate well with a New York audience. (One reason I’m developing it as a play and not as a tv show or movie.)

Though I haven’t shot a film in the city yet, I have plans to. I constantly think of how filmmakers from Rob Reiner to Ivan Reitman to Oliver Stone have captured the beauty and absurdity of New York in their films. Billy Crystal and Meg Ryan strolling through the park on a late fall day, Rick Moranis banging on the windows to Tavern on the Green—the hoity-toity diners uninterested—just before he’s devoured by a demonic dog...Michael Douglas at the 21 Club.

I hope to play a large part in bringing more film/TV opportunities and investment to the city. And as I said before too, I love this city and take pride in being a New York artist.

What advice would you give to aspiring actors, writer, and producers looking to make their mark in the industry, especially those based in NYC?
More of what I’ve said before, but develop your network, find mentors and write something that only you can write. Constantly create. Don’t just wait for someone to give you an opportunity. Make your own opportunities!

Diversity and representation have become significant talking points in the entertainment industry. How do you navigate these conversations in your work, both in front of and behind the camera?
For one, I believe that I am in a unique position to, honestly and effectively, satirize institutions that, historically (and still to some degree) are not inclusive to diversity and representation.

In terms of “story,” it’s a balance between striving for diversity/representation and serving/being truthful to the story itself. On “Breed of Greed,” we dealt with a very particular world. The world of old money WASPs. Nonetheless, we still strove for and succeeded in accomplishing diversity amongst the cast and crew.

Lastly, what exciting projects do you have on the horizon, and what can audiences expect from you in the near future?
I was just in Michael Mailer’s latest film, “Cutman” and had the pleasure of working alongside Bill Fichtner and Chris Noth. They just finished filming and I imagine that’ll hit theaters in the next year.

I am now developing a play which I hope to have on stage within the next year. It’s a pure comedy (with heart) in the style of Mel Brooks and Neil Simon. I can’t disclose too much about that project yet but be on the lookout for some announcements and press this summer.

I also have a romantic comedy (a film) and two horror/thriller concepts that I’m actively developing.

Tearsheets by Nicolas Harris, Graphic Design Intern, PhotoBook Magazine
RADAR Created by Ayoka Lucas