Emmy Winning Actress Danielle Bisutti Of ‘The Blue Rose’ On The Five Things You Need To Create A Highly Successful Career In TV & Film

…You need to want it and know it in your bones and body so deeply that you can’t be shaken when you hear negative stuff. It will affect you because you’re not a robot. Bad feedback, not getting the part, and not even knowing why you didn’t get the part — those things suck. Many times, you’ll do the best work of your life, and all you hear is crickets. But if you truly know it in your heart, then you’ll go the long journey. Speaking from experience, this is coming from someone who’s been doing it for 27 years. It’s been a long journey…

I had the pleasure of talking with Danielle Nicole Bisutti. Danielle, an accomplished American actress, singer, and producer, has significantly impacted the entertainment industry with her diverse talents and unwavering dedication. Born and raised in Los Angeles, California, Bisutti hails from a family deeply entrenched in the arts. Her father, Richard Bisutti, was a child actor, while her mother, Diana, pursued a career as a model, writer, and musician. This artistic environment undoubtedly shaped Bisutti’s path, leading her to a successful career in acting, music, and production.

Bisutti’s upbringing in a large Italian-American family was marked by creativity and artistic expression. Growing up in Simi Valley, she attended Grace Brethren from elementary to junior high school, where her interest in the arts began to flourish. However, it was her time at Royal High School that provided the opportunities to fully engage in theater, choir, and sports. After high school, she pursued a BA in Acting and Musical Theatre at California State University, Fullerton, graduating Magna Cum Laude. Her academic journey was punctuated by several accolades, including multiple nominations for Best Actress in the Irene Ryan Competition.

Bisutti’s early career saw her performing in a variety of theater productions, from “Hair” to “Pippin,” and she quickly transitioned into television and film. Her first significant break came with a recurring role on the popular TV series “The O.C.” This was a pivotal moment that affirmed her career choice, further encouraged by Peter Gallagher’s words of wisdom on her first day on set, coincidentally her birthday.

Bisutti’s versatility became evident as she navigated through various genres. Her role as Amanda Cantwell on Nickelodeon’s “True Jackson, VP” showcased her comedic timing, while her performance as Freya in the critically acclaimed video game “God of War” highlighted her dramatic prowess. This role earned her nominations for the British Academy Games Awards, solidifying her status in the industry.

Bisutti’s career spans numerous notable television appearances on series such as “CSI: Miami,” “Criminal Minds,” and “Last Man Standing.” Her film credits include “Insidious: Chapter 2,” “Curse of Chucky,” and “Back in the Day.” Each role, whether in horror, comedy, or drama, demonstrated her ability to adapt and excel in diverse genres.

Her work in “God of War” and its sequel “God of War Ragnarök” has been particularly significant, earning her critical acclaim and multiple BAFTA nominations. Bisutti’s portrayal of the Norse goddess Freya is a testament to her talent in bringing complex characters to life in both motion capture and voice acting.

Bisutti’s recent project, “The Blue Rose,” sees her in a lead role alongside Olivia Welch. The film, set in a surreal 1950s-inspired alternate reality, combines elements of noir and horror. It premiered on July 12th and is available on VOD from August 9th. Bisutti not only starred in the film but also contributed musically, with her song “The Blue Rose” featuring in the film’s score.

As the owner of Perfect Timing Productions, Bisutti is not just in front of the camera but also behind it. Her production company is involved in several projects, including “Mood Swings,” a TV comedy series, and the short film “Little May.” She is currently developing a range of TV pilots and feature films, such as “Wake Me,” a psychological thriller set to shoot in Spain. This film explores themes of trauma and recovery, reflecting Bisutti’s deep interest in stories with emotional and psychological depth.

In addition to acting and producing, Bisutti is an accomplished singer-songwriter. Her music has been featured in various films, and she has received numerous awards, including the Los Angeles Music Award for Best Female Singer-Songwriter. She continues to integrate her musical talents into her projects, enhancing the emotional resonance of her performances.

Bisutti is an advocate for mental health and self-care, emphasizing the importance of maintaining a healthy balance between personal well-being and professional ambitions. She encourages aspiring actors to trust their intuition, value their uniqueness, and create their own content. Her journey is a testament to resilience, adaptability, and the power of self-belief.

Looking ahead, Bisutti aims to continue expanding her work across various mediums. She expresses a desire to find a dynamic series regular role in television and to make a significant impact in feature films. With her production company, she intends to create meaningful content that resonates with audiences and explores a wide range of genres and themes.

Danielle Bisutti’s multifaceted career is a compelling narrative of artistic dedication, continual growth, and impactful storytelling. Her contributions to the entertainment industry reflect not only her talent but also her commitment to creating and sharing authentic, transformative art.

Yitzi Weiner: It’s a delight to talk to you again. Before we dive in deep, our readers would love to learn about your personal origin story. I know the characters you play have origin stories, but I’d love to learn about yours.

Danielle Basutti: Well, thanks for the question. Yeah, I was born into a huge Italian family on both sides. There are a lot of artists on both sides — writers, performers, actors, directors, singers, songwriters, and entrepreneurs. So, it was just in my blood to be a self-starting artist, which is how I consider myself. Someone who likes to create content, but is also very happy to get a phone call saying, “I want you for my project.” It’s a lot less work, I gotta tell you that right now.

My dad was a child actor, and my mom was a model, singer-songwriter, and writer. I was also raised by my aunt, Christina Ferrari, a model and TV personality, and a writer. So, I was surrounded by it from a young age. My dad wanted to be a baseball player, and part of why he encouraged me to stay in school was that he didn’t get to pursue his dreams. I wanted to be like the next Natalie Portman or Dakota Fanning and start young, but he encouraged me to stay in school, get a well-rounded education, normalize my life a bit, and also express myself through plays and theater.

Both my parents were always very supportive, coming to all my plays and music events. I’d put on plays with the kids in the neighborhood. This was back before we had phones, so we really innovated for our memories and a few Polaroid pictures.

In high school, I was involved in drama and choir, putting on plays. When I graduated at 17, I had a choice to either pound the pavement or go to college. My parents influenced me to go to college while still pursuing my passions. So, I went to Cal State Fullerton University and did extended studies at UC Irvine, focusing on musical theater, music, and acting for the camera. I had great teachers and toured with the musical Hair in Chicago. I graduated at 21 with a double emphasis in musical theater and acting for the camera.

I wasn’t sure if I wanted to hoof it in New York or pound the pavement in L.A. I ended up choosing L.A. and got into casting director workshops. I went to a place that taught you how to take the right picture, start a resume, and reel. I was always a people person, able to make friends and connect with people. I met my first manager through a guy on an airplane loading film stock into the overhead compartment. He looked like Jim Morrison, and I thought, “He’s a filmmaker. I’m going to talk to him.” He’s still a friend today and helped me get my first manager.

I got my SAG card by doing extra background work. My dad and uncles got me on set. I watched Jennifer Aniston on the set of Friends. I did background work on different shows, being a keen observer and copious note-taker. I’m like a sponge, always at the edge of my seat, wanting to understand and absorb information. It’s been a steady climb with peaks and valleys, but it’s been a nice climb, and I have a great team now. So, that’s the answer.

Yitzi Weiner: So you probably have so many interesting stories from the diverse parts of your career. Can you share one or two of your favorite stories from your professional life?

Danielle Basutti: My favorite stories from my professional life. Well, there’s one that’s been recent. I’m just going to go back in time here. You know how you have those memories from childhood that you could call benchmark moments or ones that are ingrained in your brain? One of the first moments was when I got my first recurring role in The OC. I remember the first day on set, it was my birthday, October 1st, and I was standing there with Peter Gallagher. It was a big deal for me to be on such a hit show and have a recurring role to grow with it. I told him it was my birthday, and he said, “Oh, well, this is what you’re meant to do then.” I asked him why, and he replied, “When you’re doing what you love on your birthday, it’s like a validation to yourself that you’re in the right place.” I never forgot that. He didn’t have to say that to me; it was very encouraging. It made me feel like I was doing the right thing.

Another huge moment was auditioning for things without knowing what I was getting into. One example is Insidious: Chapter 2. I’ve done a couple of horror films, but I’m a big fraidy cat. I’d seen Chucky, so I kind of knew what I was getting into with that, working with the brilliant Don Mancini, Fiona Dorif, Brad Dorif, and the whole cast. But with Insidious, I hadn’t seen the first one. All I knew was that James Wan, who I didn’t know at the time, was looking for an Evil Disney Queen. My first experience playing a character was Cruella De Vil at Disneyland. I thought I was going to be Belle or Ariel, but no, they wanted me for the bad girl. I remembered how to do the Evil Disney Queen and put myself on tape. James Wan wanted something completely different — 50-year-old, rail-thin with stringy blonde hair. That was not me. I went in with my instinct, something completely opposite, and got the part. Watching Insidious: Chapter 1 terrified me. I couldn’t sleep and thought, “What have I gotten myself into?”

Meeting James Wan was interesting. He has a bit of Willy Wonka energy — mercurial with a glint in his eye. You can’t tell if he’s good or evil, but he’s brilliant. Another surprising moment was when I booked God of War, the video game. I knew it was an interactive game, but I had stopped playing video games around the first Mario Brothers. I was an arcade girl with Ms. Pac-Man, my favorite game of all time. I went into the audition room and channeled Shakespeare, Lady Macbeth, Khaleesi, and Lady Stark. I knew who this woman was — strong but heartbroken, longing for what was but still hopeful for what could be. I got the part. At the first rehearsal, I still had no idea what game I was in. Cory Barlog gently pointed out the painting of Kratos behind me. I realized it was God of War, and my stomach dropped. I thought, “This is a big game. This is important.” Too late to turn back, I walked in and met the incredible voice actors like Chris Judge and Alistair. I thought I might get fired, but it ended up being one of the most pivotal, groundbreaking roles of my life. The game got nominated twice for a BAFTA and won many awards. It touched a lot of lives, including mine.

So, if I were to think of the most prominent moments in my career, they were the ones that surprised me the most, like those.

Yitzi Weiner: Amazing stories. It’s been said that sometimes our mistakes can be our greatest teachers. Do you have a story about a humorous mistake that you made when you were first starting and the lesson that you learned from it?

Danielle Basutti: Yes, always bring change for the parking meter. Back then, you couldn’t use your credit card. Also, do your best to remember as many names as you can because egos are fragile in this industry. I also give myself a little grace because when you walk into a room with a lot of people, they know your name, they’ve seen your picture, they’ve got your resume. You’re focused on your lines, so it’s impossible to remember everyone’s face and function, especially the first time.

I must have been in my early 20s, around 23 to 25. This was for a commercial spot. It was a really funny part, and I crushed the pre-read audition. Then I was there for the callback, waiting in the hallway. I’d remembered that my meter was about to expire. Of course, you’re waiting forever, like 45 minutes, and it’s like a cattle call with all these people. I was really nervous and had to go fill the meter.

Out walks this gentleman, and he says, “Wow, Danielle, you did such a great job. I’m excited to see you for your callback.” I thanked him and then asked, “I’m sorry, who are you? What was your name?” He responded, “I’m the director.” My stomach fell to my feet. I seized up for a moment and then backpedaled, saying, “Oh, yes, of course. Hi. So good to see you. Wow, this is such a great project.” I could see him dying inside, and I was dying inside too, thinking about my meter.

I bolted out, crossing the street like playing Frogger, almost getting hit by cars on La Cienega. Just as I reached my car, there was a parking policewoman. She was not gracious at all, saying, “You’re a dime a dozen, baby. Yeah, right. Audition. I hear this story all the time.” She gave me the ticket. I was in my early 20s, struggling to put food on the table and keep my apartment in Santa Monica. Now, I’m sobbing, a disaster. I go back inside, fix my hair and makeup, and then they call my name.

I walk into the room, and there’s the director. As soon as I walk in, he says, “Oh, sorry, guys, I got to take a call,” and leaves without watching my audition. My heart sunk. It was very unforgiving.

So, here’s the moral of the story. I didn’t do anything wrong, but I learned some lessons: always have change, get there early enough to find parking so you’re not in a crunch, and when someone says “Great to see you again” or “Nice to see you again,” just say “Nice to see you too” and fake it. I could have just faked it, saying, “Oh, it’s so great to see you too. This project is amazing. You’re amazing.” It wouldn’t have mattered if I didn’t know who he was. Eventually, he probably would have revealed he was the director, and I could have put the pieces together. We’re not robots; we can’t remember everyone’s face.

Yitzi Weiner: So I’m assuming you didn’t get that part.

Danielle Basutti: No, I didn’t. And it’s not the only one I didn’t get either. There have been plenty, but I’ve been fortunate to get many roles as well.

Yitzi Weiner: Amazing. So, on the opposite end of that, we love hearing stories where someone further ahead opens the door and creates an opportunity that changes someone’s career. Has anyone done that for you, or has an act of kindness really impacted you?

Danielle Basutti: Such a great question. Well, I’ve had a few people who helped open doors for me. The first one that comes to mind is Tommy Rosen. He was a filmmaker back then and is now a recovery yogi and shaman for people going through recovery. He knew I was looking for a manager. I was plucky, 21, bright-eyed, and ready to go. He saw something special in me. He knew I did the musical Hair, and being a big old hippie himself, he said, “I’ve got the perfect manager for you.” He introduced me to Conrad Lay at Sterling Winters, and it was an immediate connection.

Conrad brought me through my first major pilot season. At 25, I was testing to play Jeffrey Tambor’s daughter in a pilot called Man in the Kitchen and Jim Belushi’s daughter in According to Jim, which eventually went to Kimberly Williams from Father of the Bride. It was a huge moment for me, and it all led back to Tommy Rosen’s introduction.

I’ve also had family members help out. My aunt introduced me to her agency, and my uncle Tony, a producer, took on one of my projects, a TV pilot called Damsels, and shopped it around, really believing in it. And, of course, my parents have been incredibly supportive. You can’t even measure what they’ve done for me — it would be a dissertation to list it all.

As for myself, I try to have that mentality of helping and connecting people. It comes back around to you. It really does.

Yitzi Weiner: You have so much impressive work. Can you share with our readers some exciting projects you’re working on now and what you hope to be working on or releasing in the near future?

Danielle Basutti: Oh, that’s a great question. Thank you. Well, yes. So, as you may know, a film I co-star in called The Blue Rose, written by a 15-year-old kid who was 16 by the time it got into production. I just spoke to him yesterday. Isn’t he incredible? He’s from another planet. I mean, at 16, I was shopping at Goodwill and eating at Denny’s. We were putting on plays, but I wasn’t making my first feature film that got distribution. Let’s be clear. The Blue Rose, distributed by Dark Sky Films, has our theatrical premiere this Thursday, July 11th. This week, people can preorder it on Apple TV. After our one week in theaters, it’ll be available to stream on Amazon, which is very exciting. It’s very Lynchian, surrealistic 1950s, femme fatale, film noir — everything I love. When I read the script and the role of Norma, I just knew her.

I actually wrote a song for The Blue Rose. I’m a singer-songwriter, and part of my song got used in the overture. When you watch the film, you’ll hear this chorus, “The Blue Rose,” and that’s my voice. Soon, George and I are going to cut together a music video, which I’m very excited about. It’ll be very Norma-centric.

Another film I’m a co-executive producer on and part of the ensemble cast is called Hollywood Heist, written and directed by Mike Hatton. It stars Alec Baldwin, Nick Cannon, Mickey Rourke, Tara Reid, Patrick Warburton, Carrot Top, and Gary Busey — this is the craziest cast ever. It’s about a guy who will stop at nothing to get his film funded in Hollywood. It’s super fun, action, and comedy. I play a singer in a nightclub with a burlesque jazzy vibe, and they used a song I wrote when I was 23 called “Salem.” It feels very Cabaret, Bob Fosse, Chicago vibes. Twenty years later, I became a co-EP, book this part, and they use my song. I get to sing and dance to it, showcasing all my musical theater chops. We haven’t settled on distribution yet, but we are being courted by some big companies.

The third exciting project is one I’m now allowed to name. I have been stepping into writing and directing, and my project is a psychological thriller or drama called Wake Me. The tagline is, “What if you’ve been sleepwalking your whole life?” It examines sleepwalking as a metaphor for the unresolved traumas from childhood that become monsters in our lives. It’s about a man’s struggle to tame that monster. It’s a creature feature, a family trauma drama, and a psychological thriller with twists and turns, moving between dreamscape and reality.

The goal is to shoot Wake Me in Spain this early fall. I’ve been courting Ed Speleers, a British actor known for his role as Patrick Stewart’s son in Picard, Stephen Bonnet in Outlander, Jimmy in Downton Abbey, and an incredible role in the TV series You. He just played opposite Lindsay Lohan in a Netflix feature called Irish Wish. He’s fantastic, able to play tortured, tormented characters with vulnerability and complexity. I had a great Zoom with him, and he’s on board. We’re putting all the casting pieces together now. Out of all the projects I’ve written, this one is the most important because I believe it can offer healing to those who come to see it through the character’s journey to find peace and repair the damage done with his wife and daughter. That’s really why I want to get it out in the world.

Yitzi Weiner: I don’t know how you balance all these things. And you also have a band called Midnight Velvet.

Danielle Basutti: I haven’t sung with Midnight Velvet in years. I still sing and write songs, as you can see. I’ll probably put a song in my own movie, “Wake Me.” I had a song in “The Blue Rose,” I got a song in “Hollywood Heist,” and I’ll have a song in “Wake Me.” That’s how I’m approaching music these days. If by some stroke of luck, you know, lightning struck and Republic Records was like, “Hey, we want to do an album with you,” that would be a total dream come true. I didn’t pursue music as heavily as I did TV and film because doors were opening more in that area. But I am in that world, and I love singing with a band, playing piano, guitar, and my ukulele. It will always be a part of me. So, I just let God take that part and go with it. If it’s meant to be, it’s meant to be. However, I am in Atlanta now and I’ve been meeting a bunch of mid-lifers who really want to start a band. So, you never know. I might get back up on that stage and start singing again. It’s just fun.

Yitzi Weiner: Hey, if Lady Gaga could do it, you could do it.

Danielle Basutti: I love her. She’s also a paisana and loves pasta as much as I do. I got to meet Stephanie. Lady Gaga and I would be such friends. Oh, it’d be crazy.

Yitzi Weiner: Amazing. OK, let’s talk a little bit about “The Blue Rose.” How do you compare and contrast your personal character, Danielle, with the character you play in “The Blue Rose”? How are you similar and how are you different?

Danielle Basutti: Well, we both love fashion and art. We enjoy throwing a good party and have a sense of mystery. She’s very enigmatic, and while I think I’m a bit more open with my emotions and what I’m up to, she’s the keeper of many secrets.

Regarding Norma, the backstory, and I’m not sure if George spoke about this much in our interviews together, but I don’t think she’s the villain of the story. The people who find themselves in that liminal state of purgatory, tortured, got what they had coming to them. It’s like the Grim Reaper with his scythe; it’s just my job, part of the lore. There’s mysticism to the piece, definitely a lore. Things happened to her in childhood, to both her and her sister Sophie, that led them to believe that bringing law, order, justice, and even peace into the world means initiating people into this space where they confront themselves. It’s not a space where people can stay forever. I tell George, I don’t think people stay there indefinitely. Everyone ends up there eventually. That great line, “Everyone ends up here eventually,” is so eerie.

I found the ending of the movie very positive. I think there’s a way out, but I won’t give too much of the plot away. Norma might be manipulative and may not always tell the whole truth. She certainly has an agenda, and while I can relate to that, people do get hurt. There is a nefarious quality to her, and she’s resigned to karma. I may be more forgiving than Norma, and my childhood wasn’t as tortured, but we all have our baggage.

Most importantly, Norma wants to protect herself and her sister from a hostile world, even if that means dealing with people one by one. She’s really into taxidermy. I don’t mind taxidermy, but not to the Dita Von Teese level with a zebra. I do love peacocks, though. If I had the opportunity to have a beautiful one that died naturally, I’d say, yes, stuff it, put the plume out. I’d want it in my dining room.

Yitzi Weiner: You’ve worked in so many different genres, from comedy to horror. Do you have a favorite?

Danielle Basutti: They’re very much the same, comedy and horror. If you think about it, both rely on the element of surprise and timing. There’s a magic that elicits a laugh and a magic that elicits a jump scare. If you know what’s coming, it’s not funny. If you know what’s coming, it’s not scary. You can watch a movie multiple times: the first time, you have your initial reaction; the second time, you might laugh again; and the third time, if it’s a really funny movie like something by Mel Brooks, Monty Python, or “The Princess Bride,” you’ll still laugh. But with jump scares, it’s different. The first time you watch a scary movie, those jump scares are terrifying. The second or third time, you might still jump, but it won’t be the same because you know it’s coming. For instance, in “Insidious,” there’s a scene where Rose Byrne appears out of nowhere, and the first time you watch it, you’re jumping out of your seat. But after that, it’s not as intense.

I’m not a big fan of slasher horror. I don’t like blood or giving blood. I have to look away when the IV goes in. It feels like they’re slicing my body in half, even though it’s just a tiny needle. So, any kind of torture or blood, I’m not a fan. I don’t like seeing people get hurt. Secondly, possessed stuff that’s really demonic doesn’t sit well with me because of my Christian faith. It feels too real. There are evil presences and spirits, so I can’t get into super possessive stuff. But I can handle “Insidious” or “Jacob’s Ladder,” and I enjoy some of the Lynchian, Kubrick, and Stephen King works. M. Night Shyamalan and Jordan Peele’s films are within my comfort zone. But when it gets really violent or demonic, it’s not for me.

I also love comedy. My first series, “True Jackson, VP,” was a teen comedy on Nickelodeon. Another show, “Dwight in Shining Armor,” was a comedy on BYUtv. I tell people, if you love “The Princess Bride,” “Monty Python,” and “Freaks and Geeks,” you’ll love our show. Sprinkle a little Mel Brooks on top. It was like my dream came true playing Witch Hexilla. I love playing a total nut job but doing it dead serious. That’s probably because my dad raised me on all the Mel Brooks films. We watched them a lot, and Madeline Kahn is my comedic hero. So, I love both genres, but comedy holds a special place in my heart.

Yitzi Weiner: Amazing. OK, this is our signature question, and we’ll do it differently than last time. You’ve been blessed with a lot of success. Looking back to when you first started, can you share the five things you need to create a highly successful career in TV and film based on your experience?

Danielle Basutti: Yeah, that’s a good question.

1. The first one would be a great support system. That can be family, friends, your faith, or religion. Knowing that you are given these gifts for a reason and surrounding yourself with people who will help pick you up when you fall and always believe in you is crucial. In this industry, you’re going to hear a lot of chatter. Some people will think you’re great, others won’t. You’ll hear opinions like you’re too this or not enough that. None of that matters. So you need your support system.
2. And then two, you need to want it and know it in your bones and body so deeply that you can’t be shaken when you hear negative stuff. It will affect you because you’re not a robot. Bad feedback, not getting the part, and not even knowing why you didn’t get the part — those things suck. Many times, you’ll do the best work of your life, and all you hear is crickets. But if you truly know it in your heart, then you’ll go the long journey. Speaking from experience, this is coming from someone who’s been doing it for 27 years. It’s been a long journey.
3. Three, get an education. You don’t necessarily have to go to college and get your bachelor’s or master’s, though that’s great because you’ll learn theater, acting concepts, and constructs from great teachers. You’ll break down scripts, perform, and use your full body and voice, which will help you embody a character and create a backstory within the context of a script. But you don’t have to follow that path. You can take acting classes, cold reading classes, and study the craft. Simply walking and talking doesn’t make you an actor. You might have a natural joie de vivre or a great personality, which is fantastic. But I say, study the craft, understand what you’re doing, and study film and the actors you love.
4. Four, therapy. Why? Well, a couple of things. One, it helps you stay sane in a very fair-weathered, nonlinear industry. If you study to be a doctor or lawyer, you kind of know where you’re heading. But if you want to be an actor in the entertainment industry, it’s like a Dr. Seuss world — the roads lead here, there, and everywhere. Everyone’s journey is different, and therapy has helped me keep my mental health in check. It ensured I never disempowered my value outside of myself, which is huge, especially in the social media world where you constantly see the best versions of others’ lives. You start comparing your life, your body, and everything else. That’s what this industry is like, too. When you’re putting yourself out there, it’s personal. It’s your image, likeness, voice, and expression of a character that’s being rejected. Therapy has helped me own my power and keep my value intact. It also helped me understand human nature, making me a better actor. I can understand characters better by tracing their vulnerabilities back to childhood. Something always happens from age zero to seven that creates neural pathways, influencing how a person thinks and feels. Therapy has helped me become a better writer and a better actor.
5. Fifth, the last thing I would say is to start creating your own content. Empower yourself in any way you can. Be on time for auditions, do the work, and turn in a good audition. Politeness, assertiveness, and tenacity are all important. But remember, you are not in control of whether they choose you or not. There are many reasons outside of your control, and it’s not personal. There are political reasons and many others that have nothing to do with you. If you have a story and you don’t want to take no for an answer, stop waiting for the phone to ring. Start writing or find someone who can write. Find your posse, your group of people who want to create. Everyone has a phone and a camera these days. Find your director of photography, find people who share your passion. It’s so much easier now than it was when I was growing up. Create your own content. Maybe it doesn’t go anywhere or win an Oscar, but it might. More importantly, you’re validating your passion and talent, and you’re telling yourself that you’re enough. You can do this, and you’re not waiting for anyone else.

A bonus sixth, remember to be a polite, persistent professional. Luck is when preparedness meets the right time. That’s what luck is — timing and being prepared. There really is no luck; it just happens at different times for different people. For me, I believe that’s part of God’s design. I do everything I can, but I didn’t create all of this. John Lennon said, “Life is what happens while you’re busy making other plans.” So, whether it’s religious or spiritual for you, for me, it’s both. It means I can do what I can do, and there are parts I don’t control. If I focus on what I do have control over and do my best, that’s enough for me.

Yitzi Weiner: Amazing answer. You mentioned the rigors, the unique challenges of the entertainment industry, and that’s why therapy is so important. What changes do you think could be made in the industry to better help support artists’ mental health?

Danielle Basutti: I mean, with all the hashtags and awareness around issues like biases and sexual misconduct, we’ve seen some progress in stopping actors from being grotesquely taken advantage of. This has destroyed many lives, from children on Nickelodeon shows to actors across the board. These pariahs get a semblance of power and then take advantage of it. So, raising awareness has helped create a fairer playing field. But then again, you have to ask, when is enough enough? Is everyone getting their shot? That’s why I advocate for creating your own content, empowering yourself. It doesn’t mean you won’t be chosen for other projects — you absolutely will.

There could be more kindness in the industry. It’s like any field: the people at the top want to stay at the top. Why would they open the floodgates for others? There are great actors we see over and over again, but there are so many others out there. That’s why independent filmmaking is so important. Look at someone like George Baron, who I told I want to be his Sarah Paulson. Independent voices find a way to break out of the industry’s monopoly. It would be great if the floodgates were opened more, with diversity on all fronts, and if meritocracy played a bigger role. Can we write roles without specific descriptions so that they could be played by anyone?

A lot goes on behind the scenes that we can’t control. But here’s what I know: if a project is truthful and touches you on a human level, you’ll enjoy it and want to follow the actor or filmmaker, even if it’s on a small scale. We’ve all seen huge-budget films that are just stinkers because they didn’t take time to develop the script. It’s about getting your unique voice out there, developing your story, and knowing that not everything will be a hit. You’ll have some misses, and that’s part of life.

What I’d ask the industry to do is stop following trends, stop the bullying, and open the floodgates more. I don’t know if they’ll do it, but I know I can create my own projects with a culture of kindness, making great art and getting a great message out there. And that’s what I’m doing.

Yitzi Weiner: You mentioned one of the projects that you’re starting with your production company. What other types of stories do you hope to bring to life?

Danielle Basutti: I have 14 projects. I’ve got two Christmas comedies, a post-Vietnam period piece, dystopian sci-fi, and a gal-pal dark comedy web series called “Damsels,” which has taken a bit longer to get out there than I anticipated. I’ve got everything from psychological thrillers, horror, fantasy, and sci-fi to straight comedy, period piece dramas, and character-driven dramas. So, there’s a lot. You’ll be seeing more.

Yitzi Weiner: Are you involved in the scripts for all of them?

Danielle Basutti: Yes, many of them are co-writes because doing it all alone is nearly impossible. I started writing in 2013. Some of the scripts are co-writes, while others are solely mine. For example, I wrote “Wake Me,” inspired by a short, and I wrote that entire script. Collaborating with great co-writers has been a joy. I have 14 “children” I need to give birth to, so I’ll be busy in the next few years, popping them out.

Yitzi Weiner: How can readers continue to follow your work? How can they support you and watch “The Blue Rose”?

Danielle Basutti: Well, you can see “The Blue Rose” at select theaters. We’ll be in Los Angeles at the Laemmle Glendale, as well as in New York, Columbus, Ohio, and Santa Fe. For updates, you can follow me on social media @DanielleBasutti across the board. George is @SpookyGeorge on Instagram, and you can also check out @DarkSkyFilms to see where “The Blue Rose” is playing. Up until July 12th, you can pre-order on Apple TV, and after the 12th, it will be streaming on Amazon Prime.

To keep in touch with me, I have a Discord with a core group of fans — we call each other “fam.” You can join the conversation there. For highlights, check out my Instagram. There’s also a lot of conversation happening on Twitter. So, just look for @DanielleBasutti. I’d love to see you there and say hello.

Instagram | Tik Tok | Twitter | IMDB

Yitzi Weiner: So good to talk to you, Danielle. I wish you continued success and blessings. I look forward to our next conversation.

Danielle Basutti: Thank you so much. It’s always a pleasure. I really appreciate it.