Splinter

I started writing Splinter after a psychology grad student cheated on me and used her textbook to diagnose my suspicion as "catastrophic thinking." At first, I wanted to know how a mental health professional could do this to me. The further I got into the script, the more I realized that was the wrong question.

This person had dedicated herself to psychology in search of answers. From a young age, men had betrayed and tried to control her. Seen through that lens, the lies and manipulation were a way to remain safe. I started asking myself a different question: "Had my jealousy triggered her fear?"

I told her my intention to write the script and asked for her help. She agreed to an interview and sent me resources on her field of study: ACEs (adverse childhood experiences). One of the worksheets laid out a strategy for talking to kids about trauma. It was called The Splinter Analogy.

Reading that worksheet, the movie became clear to me. I wanted to tell a story about a character who has to confront her own trauma (pull the splinter) in order to heal. I dove into the research -- interviewing psychologists and elementary school teachers, combing through lesson plans, studying the DSM-5.

All the while, I was working as Debbie Allen's assistant on Grey's Anatomy. I spent as much time on set as possible, watching her direct, befriending the cast and crew. I secretly wrote a part for Debbie, on the off chance I could convince her to play it. Two years later, I popped the question (she said yes!)

Word spread around the Grey's set that I was making a movie and crew members came out of the woodwork to offer their help. One of the ACs had a connection at Panavision and hooked me up with an entire camera package. The transportation coordinator introduced me to his contact at Harley Davidson, who loaned us two shiny new motorcycles. The prop master came in over the Summer to help me pull supplies from his stash. Many folks from the show contributed to our Indiegogo campaign. Without Grey's Anatomy, I wouldn't have been able to make this movie.

We shot it in 16 days, on hiatus between seasons. It was by far the most challenging shoot of my life. We didn't have enough time or money. We endured 100 degree desert days, including one in which I dug a grave before the crew arrived. I invested my entire life savings in the project and put so much weight on my own shoulders that midway through the shoot, my mental health began to fray. Like our protagonist, it seemed like my only option was to keep moving. As long as I didn't slow down, I'd avoid the piano hanging over my head.

I've been working on this project for almost five years now, and while I'm still recovering from the toll it has taken emotionally, I'm excited to get it out into the world. It’s a dark film but it was made with love, to show that people who live with the aftereffects of trauma can be our most trusted heroes.