Up Close with Marc Cubelli

Actor, writer, and producer Marc Cubelli represents a growing wave of multi-hyphenate filmmakers who have carved their place in the industry not by waiting for opportunity, but by creating it themselves. With a foundation rooted in performance and an evolving passion for storytelling across disciplines, Cubelli’s trajectory reflects both persistence and creative self-determination, culminating in his indie feature Shooting Sid which stars Austin Pendleton.

From History Major to Actor

Although Cubelli long felt the pull toward performance, the path was not immediately clear, “In the back of my mind I always knew I wanted to be an actor,” he explains. “But I never really thought it was something I could make a career out of.” After participating in school plays throughout his early years, he pursued a more conventional route, studying history in college with aspirations of becoming either a teacher or a lawyer. It wasn’t until after graduation that he explored both professions, that clarity arrived, “I realized that neither was my calling, and acting was all I really cared about.”

Early Signs and Industry Breaks

Cubelli began formally training in New York City, securing representation early on, though auditions proved elusive. Rather than stall, he pivoted, “That was when I started to write, because it was something I could do without anyone giving me permission.” He gained on-set experience as an extra on One Life to Live, earning his AFTRA card, which later transitioned into SAG membership following the union merger. Around the same time, his first screenplay, a biopic about Andrew Jackson, placed as a finalist in a competition, an early validation of his storytelling instincts. A pivotal turning point came unexpectedly at an industry event in Los Angeles, “I met 30 reps and one, just one, gave me her card and offered me representation if I moved out to LA. So, I did, and that started the chain of events that eventually led to Shooting Sid.”

Expanding Into Filmmaking

While acting came first, filmmaking soon followed out of necessity and creative drive, “When the parts failed to materialize, I turned to writing. The plan was to write a spec that would sell, but when I moved to LA I had my eyes opened to a whole world of DIY filmmaking.” That discovery sparked his move into producing, recognizing that creating original work offered both agency and momentum.

Influences and Storytelling Taste

Cubelli’s artistic sensibilities lean toward the psychologically complex and tonally unconventional. Influenced early on by films such as Taxi Driver, Barton Fink, and Blue Velvet, he gravitates toward morally ambiguous characters and layered narratives, “I like Hollywood crowd pleasers as much as the next guy,” he says, “but personally I prefer films where not everything is so black and white.” A self-described history buff, he also maintains a strong affinity for period storytelling, a theme that recurs throughout many of his scripts.

The Origin of Shooting Sid

The road to Shooting Sid began with Cubelli’s first microbudget feature, My Beautiful Bride, which he wrote, produced, and starred in. The project introduced him to collaborator Jaime Zevallos, who would become a key creative partner. Zevallos initially brought Cubelli an idea that evolved into a spec script titled Guardian, about a homeless boy building a time machine to save his parents. Though the project was optioned and nearly produced multiple times, it ultimately stalled.

Meanwhile, Cubelli founded his production company, Hudson Street Films, producing shorts written and directed by Zevallos while continuing to act in them. Over time, creative evolution reshaped the original concept, “At a certain point the writing was on the wall, and Guardian became Shooting Sid.”

On-Set Surprises and Full-Circle Moments

One unexpected twist, Cubelli notes, was stepping into the lead role himself, “The character of Sid was originally a ten-year-old boy, so when I was writing the original screenplay… I was unwittingly writing a starring vehicle for myself.” The production also allowed him to work alongside veteran actor Austin Pendleton, an experience he recalls with enthusiasm. Their conversations frequently drifted to Pendleton’s comedic turn in My Cousin Vinny, a film Cubelli considers a childhood favorite.

Themes Beneath the Sci-Fi

While Shooting Sid explores time travel on its surface, Cubelli hopes audiences connect with its deeper philosophical and emotional layers. He wants viewers to question not just whether time travel could exist, but whether it should, “What kind of can of worms would we be opening? Would we be able to move forward in an ethical and responsible manner?” Equally central is the film’s exploration of friendship and human connection, particularly how relationships can serve as emotional anchors during life’s darkest chapters.

The Power of Self-Generated Work

For Cubelli, creating original material is no longer optional, it’s essential, “The market is so saturated now that you must create a calling card for yourself to stand out,” he says. “I’m a firm believer that attracting is better than chasing.” DIY filmmaking, he adds, also fosters community, allowing artists to “find your tribe” and build support systems within an unpredictable industry landscape. He cites filmmaker Brit Marling as an early inspiration, particularly her Sundance breakthroughs Another Earth and Sound of My Voice, both of which influenced Shooting Sid and reinforced the value of forging one’s own artistic voice.

What’s Next?

Cubelli shows no signs of slowing down. Among his upcoming projects is The Witch of Whitford, a horror screenplay exploring psychological terror within intimate relationships, “My favorite horror movies are ones that find the horror in everyday social situations,” he notes. He’s also developing a political drama centered on Lee Atwater, strategist behind George H. W. Bush’s 1988 presidential campaign, a project he believes resonates strongly in today’s sociopolitical climate.