Patrick Roche Is a freelance screenwriter and producer, living and working in New York City. He holds a BA in Film and Television Production from UMass Amherst and is the founder and director of Think Tank Coworking, based in Portland, Maine. He is the recipient of numerous awards for business and entrepreneurship and is the founder of Portland Summer Films. Patrick has worked as a writer, producer and editor for Plum TV and Principle Pictures, as well as a reporter at the St John Tradewinds. “The Diver” represents his return to filmmaking.

Author Lew Robinson (left), Director Sean Mewshaw (center), Writer Patrick Roche (right)

How did you get into writing and producing? Did you always know it's what you want to do?

PATRICK: In middle school my friends and I would raid the Cult section of the local video store and gorge on Sam Raimi films - our favorite was “Crime Wave”, which I learned in later years was written by the Coen Brothers. Some tastes never change… In college I built a major around literature and film. The film studies department at UMass Amherst had excellent academic study; world cinema, etc.) but not a very robust production department. I did what I could within that department, but production was basically self-directed with not much in the way of tutelage or access to equipment. I was shooting on SVHS and editing on outdated non-linear editing programs. In many ways it was a valuable exercise - that and working with 16mm Bolex film cameras taught me the value of scripting and storyboarding. You had to know what you wanted - shooting endless coverage was not an option. As for the writing, while movies were my thing, I also loved literature and endeavored to write a novel. I may still have one in me, but I’ve spent so much time working at the craft of screenwriting that is now how my brain works.

You are the founder and director of Think Tank Coworking, based in Portland, Maine. Can you tell us about what that is exactly?

PATRICK: Think Tank is a small network of Coworking spaces I founded back in 2010. We have three locations in Maine with our flagship in downtown Portland. Coworking wasn’t really a thing yet in 2010. I was a bit ahead of the curve, especially for Maine, but with some grit, and I think, charisma I was able to build up a market around the Coworking experience. This was before remote work was a thing. I was catering to freelancers and “e-lancers”, but originally conceived of the space as more of a literary salon and workspace. It was going to be called The Writers Exchange. I was fortunate in my timing. Portland was on the cusp of a renaissance and Think Tank, I like to think, was a part of that urban renewal and entrepreneurial growth. We hosted many hundreds of events - design charrettes, gallery exhibitions, plays, meetups, parties and more. It’s still something of a hub with many people making professional and personal connections there. That experience grew my network and matured my business savvy - In many ways preparing me to venture back into filmmaking with the understanding that it’s a business and not just an artsy lark.

You have received numerous awards for business and entrepreneurship. Can you tell us about those awards and business ventures?

PATRICK: Being at the nexus of business and creative ventures in Maine, it was easy to make a name for myself here. The city of Portland and state of Maine thrive on its localvore culture and support of its doers. There was a time when I was very bullish on new ventures here and helped launch a few cool initiatives. The accolades for entrepreneurship followed… I’m a big believer in if you build it, they will come and think it’s a great path for those bold enough to embark on growing new communities. So many talented young people move to places that are already set. There’s growth and reward in living in up-and-coming places where one can vest in the community.

You are also the founder of the indie production company Portland Summer Films. Can you tell us what kinds of films you are producing?

PATRICK: Oh haha. Not quite a production company. This was a project of a non-profit arts council I was a part of for nearly a decade. My friends and I built on a tradition of screening movies on a parking garage rooftop and in public park spaces around Portland. We’d basically curate, market, and screen free films for the public. It was a great joy. The pinnacle was screening “Jaws” (1975) on the Eastern Promenade to about 1000 attendees. Screening Jaws outside with beautiful Casco Bay as a backdrop was a dream my childhood friend and I cooked up on Martha’s Vineyard long long ago.

Maine is coming on the up and up for filming locations. Can you tell us about Maine as a filming destination?

PATRICK: Where to begin?! Maine is incredible. The landscapes, the culture, the hidden little hamlets and working waterfront. It’s riddled with stories and lore and has been an inspiration to generations of writers and painters… and lately film makers discovering it. I’m on the board of a nonprofit, Picture Maine. Our aim is to advocate for and pass legislation for improved tax credits to attract film production and boost the visual media economy in Maine. We’ve made a lot of progress this year and have a bill in the legislature - we’re in a holding pattern on that but feel very good about its passing as well as the support we’ve helped to galvanize. It’s a huge opportunity for Mainers to grow an economy around film production. It’s a jobs bill after all.

Your short film “The Diver” is a thriller with a twist. It's also gorgeously shot! Can you speak about the inspiration of writing this film?

PATRICK: “The Diver” was a passion project that my close friends and I put together. It’s based on a short story by Lew Robinson, a Maine writer, who agreed to option the story for a film. I wrote the screenplay and produced the film, bringing on a very talented cast and crew. Shooting on the coast of Maine in September was a dream. This Buck’s Harbor in the town of Brooksville is magic. You can’t fake natural light like that. The whole community rallied around what we were doing out there in the harbor. “The Diver” is a weird little tale that captivated me from the start - very life-y, we liked to say, and we think captures some of the social dynamics that exist in a place where affluent tourists often collide with rural communities. It’s a tale of misunderstanding, ego, and fear of the other.

What are your hopes for “The Diver”? Where can people see the film? And will you turn it into a feature film later?

PATRICK: There’s an expanded version of this story that I’ve been teasing out - a series I’ve been referring to as a Fargo-by-the-Sea. The coast of Maine is riddled with odd characters and incredibly textured set pieces. It’s a unique and overlooked part of the world (like so many) that I think audiences would revel in exploring. If this tax credit bill passes, we have high hopes for more films and TV shows to be shot here. 

You recently screened the film in the short film corner at Cannes. What was that experience like?

PATRICK: Cannes was gorgeous. What a ride. I met loads of talented, passionate people and was deeply honored to screen the film to an audience - albeit small - but we did receive a standing ovation! This being my first time to Cannes, I had wrongly assumed that it was screening as part of a block of films. It turns out you must market your own films to gain attendance. C’est la vie. I do think the film is a winner - a tad long for programming in most festivals, but we’re looking forward to getting it out there and of course sharing it with passionate film enthusiasts. There’s some great acting in there… Matt Delamater, Tim Peper and Pepper Binkley - not to mention the young and talented Lucy Harkness! - did an extraordinary job bringing those characters to life. Matt’s performance as “The Diver” is extraordinary - both charming and terrifying. I’d love to cast him again.

Why is it important for filmmakers to attend markets and film festivals like Cannes?

PATRICK: I’d say at the very least, it’s a crash course in the scale and scope of the indie-film industry… and rather eye-opening to see how passionate and driven the filmmaking community truly is. It’s a unique calling. It was also great to see how massive the international market is… That Hollywood doesn’t have a monopoly on storytelling. It’s critical that we see films and share stories from around the world. Also, the schmoozing. If a filmmaker is up to it, there is an incredible amount of business development and networking to be had at Cannes… though it helps to know a few folks who know the ropes and can maybe help get you into some of the parties.  

What will you be working on next?

PATRICK: I’m nearing completion of a feature film script. A high-concept sports comedy set in Boston. I’ve got some development financing behind it and have had no problem drumming up interest in the story. My hope is that with a solid script we can pull some levers and get some talent and an established comedy director attached. It’s a winner of a project and something I think will be outrageously funny but also resonate with audiences. For those interested, I have details on some of these projects at my website: www.bailiwickproductions.com

Interview by Vanessa McMahon