Email:neill@outloudculture.com
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Multi-hyphenate David Bianchi is a of Afro-Brazilian decent and is fluent in Spanish, Portuguese and English. Finding a love for acting at the age of 3, he grew to harness his passion for the craft and became classically trained in theatre. He holds a BFA in Theatre from Arizona State University where he carried lead roles on multiple main stage shows and graduated Magna Cum Laude. Taking his knowledge from his studies, he produced a new form of visual story telling with his high concept spoken word films he dubs ‘Spinema’ (spinning cinema through spoken word). The films were produced with celebrated actors and poets such as Emmy Nominee Malcolm Jamal Warner, Mustafa Shakir, Joivan Wade and other notables. As a filmmaker, he has producer 6 feature films and is the founder of Exertion Films, which has licensed projects to HULU, HBO Max, Paramount+ and more.
As an actor, he’s known for his roles in Queen of the South (Netflix), Tyler Perry’s Ruthless (BET), Westworld (HBO), Seal Team (Paramount+) and Criminal Minds (Paramount+). Now, fans can see him as the lead, Grimm, in his original 8-episode science fiction series RZR. Not only does he lead the fantastical thriller, but Bianchi is also the creator, show runner and co-writer. The show will be the initial series launching on the new freemium platform, GALA Films, and hosts a bevvy of talented actors such as Mena Suvari, Richard Cabral, Emilio Rivera and Danny Trejo. RZR will release worldwide on April 14th, 2024. The motivation behind RZR came from his journey in March 2021 where he got into NFTs & Web3. He gained interest and was able to study Web3 and blockchain technology and what it can do for episodic TV, music, and media.
When did you start acting and what gave you the bug?
I began acting as a child, landing my first role as Captain Hook in Peter Pan during third grade. Even earlier, in second grade, I recall performing TV commercials on the neighborhood swing set in upstate New York. That’s where I first dabbled in improvisation, unknowingly honing my skills. Throughout high school, I continued with theater, participating in multiple plays before transitioning into producing electronic dance events. Surprisingly, this became my initial training ground for independent producing.
Turning empty warehouses into big nightlife spectacles involves grip, electric crews, dealing with talent, and logistics, and that’s basically what producing is. After graduating from Arizona State University with a BFA in theater, I moved to Los Angeles in 2004. There, I realized Hollywood wasn’t waiting for me and worked as a waiter and bartender for about 15 years. Initially joining the Screen Actors Guild through background work. I hated being an extra, being treated like sheep but I loved being close to the action. I’ve always been an artist, engaging in poetry, painting, and performing.
How were you discovered, that led you into show business as it relates to screenwriting?
Screenwriting, like directing and performance, can be challenging due to its solitary nature. Some individuals possess innate talent while others may struggle even with training. For instance, individuals like Johnny Cochran excel while others with extensive training do not. I have a natural aptitude for performance and leadership, (while producing can be learned but still involves leadership skills).
How were you discovered that led you into the business?
I wasn’t discovered; I hustled. Directing my first short film in 2003 and producing my first professional one in 2005, I learned on the go. Over 20 years, relentless dedication made me a proficient producer. No “aha” moments; I worked hard, and people recognize my work ethic and quality output. My focus remains on the work, trusting it to advance my career in an industry that proves to defeat most.
As the creator, showrunner, and lead actor of RZR, what inspired you to develop a Sci-Fi series and what do you hope the audience will take from it?
The story was inspired by Elon Musk’s Neuralink technology, blending elements from Black Mirror, Mr. Robot, Blade Runner 2049, and Children of Men. This led to a core concept of a brain-computer interface implant surpassing Neuralink. The larger question is how would that shape a human’s morality? Teaming up with co-writer Daniel J. Pico, we crafted the series, beginning with laying out the treatment and characters. Then, we created the bible for season one, and developed episodes, with Dan directing episode six.
How did your background in classic theater and your experience as a multi hyphenated artist influence your approach to storytelling, particularly in project like Spinema films?
Before arriving in LA, I sought classical training to delve deeper into performance fundamentals, including physical mechanics, voice and diction, aiming to transcend being merely a “pretty boy with a headshot.” My theater background, (driven partly by a desire to make my parents proud and earn a bachelor’s degree), continues to shape my work in productions.
My Spinema films, (experimental works blending spoken word poetry and performance), draw from influences rooted in theater. These films blur the line between poetry and performance art, emphasizing physical expression alongside verbal storytelling. For me, this connection is rooted in my days as a theater actor, as the physical body is just as much an instrument as the voice is. Physically emoting remains crucial, especially in producing experimental narratives told through poetry.
RZR explores themes of neural implants, artificial intelligence, black market crime, and dystopian setting. What drew you to these themes, and how do you navigate the balance between entertainment and social commentary in your work?
These themes resonate with me because I’m drawn to the dark, gritty side of the human condition. Films like Prisoners, Pulp Fiction, Reservoir Dogs, Boogie Nights, Requiem For A Dream, Gladiator, Children Of Men, and Shawshank Redemption capture the essence of what I enjoy—stories that delve into the darker aspects of human psyche. Having personal experience with alcohol and drug abuse, I’m particularly fascinated by narratives involving extreme pressure, violence, addiction, or escaping danger. I enjoy exploring how individuals respond when pushed to their limits. Incorporating elements of science fiction, cryptocurrency, blockchain, robotics, and metaverse tech adds depth to my storytelling, drawing from my involvement in web3 ecosystems and the NFT space. Ultimately, I’m not interested in conventional, feel-good movies; I prefer narratives that challenge and provoke.
Given RZR’s distribution across web3 and web2 communities, infusing themes appealing to our primary audience—predominantly 18 to 40-year-old white men in the blockchain world—was second nature. Understanding their preferences for content akin to Black Mirror, Mr. Robot, Cyberpunk, and Blade Runner 2049, we realized it wasn’t enough to merely produce a show. We needed to consider our audience’s desires and ensure our themes resonated with them, shaping the purpose behind the world we were creating.
As an artist, social commentary is paramount to me. I’ve invested heavily in producing socially conscious spoken word films and directing a feature-length documentary called “Outspoken”. It explored stories of conscientious objectors and families impacted by war, critiquing the Bush administration’s actions in Iraq. This commitment to social commentary has been a constant in my artistic journey for over 20 years. I believe in using our platforms to address societal issues and speak out against injustice.
In RZR, Grimm, a combat veteran suffering from PTSD and addiction to OxyContin and benzodiazepines after multiple tours of duty during nuclear war in Eastern Europe, serves as a lens to explore social themes. Grimm navigates through the bleak Grid Zone of Los Angeles, reflecting on the challenges many veterans face post-combat.
With the rise of streaming platforms like Gala Films, what opportunities do you see for independent creators future of episodic tv?
In the next five years, I anticipate that blockchain technology will become integral to every aspect of information systems, media, and intellectual property. Companies like Amazon are already deploying beta versions of their own blockchains, signaling its imminent integration. While cryptocurrency remains somewhat taboo, there’s growing acceptance, particularly with Bitcoin and the latest Blackrock ETF products. Adoption of blockchain technology and cryptocurrency is still evolving but will likely become the backbone of most information systems in the first world.
Advancements in technology, such as artificial intelligence, are creating opportunities for independent creators. Tools like Sora and text-to-prompt applications enable individuals to produce content that previously required large crews and technical expertise. This democratization of filmmaking opens doors for creators to explore their creativity in unprecedented ways. However, this also means that established creators like myself will face increased competition from emerging talents. Embracing AI and new technologies will be essential to maintaining a high level of creativity and staying competitive in the industry.
You’ve worked with a range of talented actors and filmmakers through your career. Can you share some memorable experiences from lessons that you learned with veterans like Danny Trejo, Mina Suvari?
One important lesson I’ve learned is from Danny Trejo, who once told me, “I’d rather aim for the moon and miss than aim for the gutter and make it.” This resonates deeply with me. I believe in striving for audacious goals that challenge and inspire me. It’s essential for any artist to be the best version of themselves, treating others with fairness, honesty, and grace. Purpose is paramount—it’s more important than any job or relationship. Projects and endeavors should be driven by inspiration, not solely by financial gain. By staying true to my purpose, I (or any artist) can navigate Hollywood’s challenges and sustain my passion. Without purpose, Hollywood will eat you up.
As a filmmaker, you’ve produced several feature films and licensed projects, streaming platforms. What challenges have you faced in the production process and how do you overcome them?
That’s very a broad question! But simply, If you are going to start, you have to finish. There’s no other choice in the matter. Start and finish what you set out to do, whether it’s a short film or a feature film. Don’t quit halfway through; complete your goals whatever happens in the in-betweens is whatever happens in the in-betweens. And you just have to accomplish those things.
Being an actor or a musician or filmmaker or a cinematographer, you’re an entrepreneur unto yourself, and if you don’t have an entrepreneurial spirit, this business is not for you.
Each production offers its own set of challenges, and so I can’t really pinpoint any specific one right now. The way that you overcome them is that you just realize that those obstacles and those challenges are just part of the process. The process is the destination. That’s the stuff that really turns you into who you want to become.
In closing, RZR is an exciting project that offers a fresh world and perspectives. While everyone’s perception may vary, our aim is to create something that resonates with cinephiles, thespians, writers, directors, and cinematographers alike. Ultimately, the most important thing is to keep creating and showing up for yourself.
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