Alex Timbers  

Overview of Work: Alex Timbers is a Tony Award-winning director known for imaginative stage musicals (e.g. Moulin Rouge! on Broadway) and comedy projects. He co-created Amazon’s Mozart in the Jungle and directed comedy specials like John Mulaney: Kid Gorgeous (Alex Timbers - Wikipedia). His style blends bold theatricality with humor, often in musical or satirical contexts (e.g. the rock musical Bloody Bloody Andrew Jackson).  

Age & Location: Timbers is 46 years old (born August 1978) and hails from New York City (Alex Timbers - Wikipedia). He is based in NYC and frequently works on Broadway productions.  

Alignment with Reality Fiction: Many of Timbers’ works mix comedy and satire with character-driven storytelling. His direction of Oh, Hello! (a stage satire with Nick Kroll and John Mulaney) and the irreverent historical satire Bloody Bloody Andrew Jackson show his knack for dark humor and social commentary (Alex Timbers - Wikipedia). Reality Fiction’s dark comedy and satirical bent could align well with Timbers’ experience in blending witty dialogue, genre parody, and character humor.  

Relevant Collaborations: Timbers has collaborated with top comedians and writers – for example, directing John Mulaney and Nick Kroll’s Broadway show and Netflix special Oh, Hello (Alex Timbers - Wikipedia). He’s worked with music icons (David Byrne on American Utopia) and producers like Broadway’s Scott Rudin. These partnerships show he can helm projects with strong personalities (similar to Fred Armisen’s comedic style) and coordinate large creative teams.  

Awards & Recognition: Timbers has earned multiple Tonys (including Best Direction of a Musical for Moulin Rouge! in 2021) and a Golden Globe for Mozart in the Jungle (Alex Timbers - Wikipedia) (Alex Timbers - Wikipedia). He’s been Emmy- and Grammy-nominated as well. His accolades reflect industry respect for his innovative comedic direction.  

Experience as a Producer: In addition to directing, Timbers has producing credits – he executive-produced Mozart in the Jungle (which he co-created) and often develops his stage shows (Alex Timbers - Wikipedia). This background means he understands the producing side of projects (scheduling, budgets, creative development), useful for guiding a film’s production.  

Budget & Box Office (Most Recent Film): Timbers has not yet directed a feature film. His screen work has been in TV (e.g. Mozart in the Jungle) and filmed stage productions. Thus, no direct film budget/box office data is available (his focus has been stage/TV). (Notably, his Broadway shows like Beetlejuice recouped investments, and Mozart in the Jungle was a success on Amazon (Alex Timbers - Wikipedia).)  

Upcoming Projects & Availability: Timbers remains busy with stage and TV projects. He is currently directing new Broadway productions (All In: Comedy About Love in 2024 and the upcoming All Out: Comedy About Life in 2025) (Alex Timbers (Conceiver, Playwright): Credits, Bio, News & More | Broadway World) (Alex Timbers (Conceiver, Playwright): Credits, Bio, News & More | Broadway World). These commitments suggest he’s focused on theatre through 2025. He has no announced film projects, which could mean availability for Reality Fiction – though his active Broadway schedule might limit immediate openings.

Andy Fickman  

Overview of Work: Andy Fickman is a Hollywood director known for broad comedies and family-friendly films. His film credits include the teen sports comedy She’s the Man (2006), Disney’s family hit The Game Plan (2007), the adventure Race to Witch Mountain (2009), the Kevin James slapstick Paul Blart: Mall Cop 2 (2015), and the family comedy Playing with Fire (2019) (Andy Fickman - Wikipedia) (Andy Fickman - Wikipedia). He often infuses light-hearted humor and heartwarming tones into mainstream genres. Fickman’s style leans toward crowd-pleasing comedy with energetic pacing and physical gags.  

Age & Location: Fickman is 54 years old (born December 1970) and is originally from Texas (Andy Fickman - Wikipedia). He established his career in Los Angeles, where he continues to live and work in the film and TV industry.  

Alignment with Reality Fiction: Reality Fiction’s dark satire might be outside Fickman’s typical wheelhouse of upbeat family comedies. However, he does have experience with satire in theatre (he directed the stage musical Reefer Madness! – a parody of 1930s propaganda (Andy Fickman - Wikipedia) – and Heathers: The Musical). Those show he can handle edgier comedic material. While his films are generally lighter than Reality Fiction’s tone, Fickman’s solid comedy chops and ability to direct comedic actors could translate to the film’s darkly comic elements.  

Relevant Collaborations: Fickman has worked with major comedy stars and producers. He directed Dwayne “The Rock” Johnson in two films (The Game Plan and Race to Witch Mountain), showcasing Johnson’s family-friendly comedic side (The Game Plan | Disney Wiki | Fandom). He also collaborated with Kevin James (Kevin Can Wait on CBS and Paul Blart 2) and John Cena (Playing with Fire). Through these projects, Fickman has partnered with Disney and Sony, demonstrating he can manage big-name talent and studio expectations.  

Awards & Recognition: Fickman’s work is commercially successful, though not typically in awards circles. (The Game Plan grossed $146 million globally (The Game Plan | Disney Wiki | Fandom).) He did receive a Golden Raspberry nomination (Worst Director for Paul Blart 2) in jest (Andy Fickman - Wikipedia). While he isn’t an awards darling, his films’ box office and Fickman’s long directing resume speak to his reliability in the comedy genre.  

Experience as a Producer: Fickman has producer experience on both film and TV. He produced the comedy Jewtopia (2012) and was executive producer/showrunner of the YouTube series Internet Icon and the Netflix sitcom The Crew (Andy Fickman - Wikipedia). He also runs his own production company, Oops Doughnuts Productions (Andy Fickman - Wikipedia). This background means he can juggle the production logistics of a film – useful if he were to direct Reality Fiction.  

Budget & Box Office (Most Recent Film): Fickman’s latest film One True Loves (2023) – a romantic drama he directed – had a modest budget (reportedly around $20 million) and saw a limited theatrical release. It earned under $0.5 million in theaters (about $0.33M globally) (One True Loves (2023) - Financial Information), as it was primarily released on streaming. By contrast, his earlier broad comedies were box office hits (e.g. Paul Blart 2 took ~$107M worldwide on a $30M budget, and The Game Plan made $146M on a $22M budget (The Game Plan | Disney Wiki | Fandom)).  

Upcoming Projects & Availability: Fickman stays active in both TV and film. In 2024, he directed Don’t Turn Out the Lights, a horror-comedy, and he continues to produce content (e.g. the recent YA romance One True Loves (Andy Fickman - Wikipedia)). He hasn’t publicly announced a new directing gig after 2024, which could make him available for Reality Fiction. His track record with studio comedies might position him as a “safe pair of hands” for the film, assuming he’s interested in a darker satire to stretch his range.

Augustine Frizzell  

Overview of Work: Augustine Frizzell is an indie filmmaker with a mix of edgy comedy and drama in her portfolio. She debuted with Never Goin’ Back (2018), a gritty teen stoner comedy about two waitresses on a misadventure (Augustine Frizzell - Wikipedia). She directed the pilot of HBO’s provocative series Euphoria (2019) (Augustine Frizzell - Wikipedia), establishing that show’s raw, dark tone. In 2021, Frizzell directed The Last Letter from Your Lover, a romantic drama set across two timelines (Augustine Frizzell - Wikipedia). Her style ranges from raunchy humor (Never Goin’ Back’s candid comedy) to stylish emotion (Last Letter’s polished melodrama), often focusing on youth and subculture themes.  

Age & Location: Frizzell is 45 years old (born July 1979) (Augustine Frizzell - Wikipedia). A Texas native (Garland, TX), she has roots in the Dallas indie scene and is married to filmmaker David Lowery (Augustine Frizzell - Wikipedia) (Augustine Frizzell - Wikipedia). She works between Texas and Hollywood, having directed projects for major studios (HBO, Netflix).  

Alignment with Reality Fiction: Frizzell’s work shows she isn’t afraid of dark or offbeat material. Never Goin’ Back was a dark comedy of errors about teen dropouts (aligning with Reality Fiction’s potential for irreverent humor). Her Euphoria stint proves she can handle intense, morally complex storytelling. While Reality Fiction is a satire, Frizzell’s ability to balance humor with gritty realism would serve the film’s character-driven dark comedy well. She often brings out authentic, if messy, character dynamics – a good match for Reality Fiction’s satirical look at flawed people.  

Relevant Collaborations: Frizzell has worked with notable young talent. She directed rising stars Maia Mitchell and Camila Morrone in her debut (Augustine Frizzell - Wikipedia), and guided major actors like Shailene Woodley and Felicity Jones in The Last Letter from Your Lover (Augustine Frizzell - Wikipedia). She’s also collaborated with creatives like Sam Levinson (Euphoria creator) and Selena Gomez (who executive-produced Broken Hearts Gallery, a film Frizzell’s husband produced). Her network, including Lowery and other indie producers, indicates she’s comfortable working with strong writers and actors to shape a project’s tone.  

Awards & Recognition: Frizzell’s Never Goin’ Back premiered at Sundance (Augustine Frizzell - Wikipedia) and earned positive reviews for its bold humor. She hasn’t won major awards yet, but Euphoria (pilot) went on to critical acclaim, and Last Letter garnered attention as a literary adaptation. Her standing is that of a promising up-and-comer, recognized by festivals and streaming platforms.  

Experience as a Producer: Frizzell is primarily a writer-director, but she has some producing involvement. She co-wrote Never Goin’ Back (effectively “producing” its vision), and in TV, pilot directors often serve as co-executive producers (Euphoria lists her as a co-EP for the pilot). Additionally, being married to a producer/director (Lowery) means she’s been closely involved in the production side of films. She’s not a veteran producer, but she has the indie producer’s mindset of doing a lot with limited resources.  

Budget & Box Office (Most Recent Film): Frizzell’s latest feature, The Last Letter from Your Lover (2021), was produced for a mid-range budget (not officially disclosed, but likely in the $15–20M range given its period settings) and released via Netflix/StudioCanal. It had a limited theatrical run in the UK, grossing about $1.5 million (The Last Letter from Your Lover - Wikipedia). Her debut Never Goin’ Back was a low-budget indie picked up by A24, grossing under $100K (in a limited release) but finding an audience on streaming. The modest earnings reflect that her films have mostly been positioned for streaming audiences rather than box-office dominance.  

Upcoming Projects & Availability: Frizzell has been attached to direct the Fox/Disney stoner comedy Stoned Alone (a riff on Home Alone) (Augustine Frizzell - Wikipedia), though its status is uncertain post-Disney merger. She is reportedly developing new projects; as of now, no new film has been publicly announced, suggesting potential availability. Given her versatility and the fact that she’s proven herself in both comedy and drama, Frizzell could be a strong candidate for Reality Fiction if she’s not already committed elsewhere. (Her experience with darkly comic material and recent success on streaming could align well with this project.)

Bill Holderman  

Overview of Work: Bill Holderman is a filmmaker who transitioned from producing prestige dramas to directing warm character comedies. He co-wrote and directed Book Club (2018) and its sequel Book Club: The Next Chapter (2023) (Bill Holderman - Wikipedia) (Bill Holderman - Wikipedia) – lighthearted comedies about lifelong friends rediscovering life and romance. Prior to directing, Holderman built a producing career on Robert Redford films like Lions for Lambs (2007), The Conspirator (2010), The Company You Keep (2012), A Walk in the Woods (2015), and The Old Man & the Gun (2018) (Bill Holderman - Wikipedia). These skew drama, showing his range from thoughtful political fare to breezy comedy. His directorial style in Book Club is gentle, actor-focused, and witty, often highlighting chemistry among ensemble casts of veteran actors.  

Age & Location: Holderman is 47 years old (born April 1977) (Bill Holderman: Biography, Movies, Net Worth & Photos). He was born in Chicago and is currently based in Boulder, Colorado (For these big LA filmmakers, the pandemic gave them a new home and a new community: Boulder, Colorado) (For these big LA filmmakers, the pandemic gave them a new home and a new community: Boulder, Colorado) – he and his writing/producing partner Erin Simms relocated there during the pandemic while making Book Club 2. He spent two decades in Los Angeles prior to that (For these big LA filmmakers, the pandemic gave them a new home and a new community: Boulder, Colorado).  

Alignment with Reality Fiction: Reality Fiction’s dark satire is somewhat different from Holderman’s known sweet-comedic tone. However, his strength lies in character-driven storytelling and comedy drawn from relationships – which could benefit a satire centered on characters. In Book Club, he balanced humor with commentary on aging and friendship; similarly, Reality Fiction might require balancing laughs with satirical observations. Holderman’s experience working with sharp dialogue (the Book Club scripts) and mixing heartfelt moments with comedy suggests he could handle the film’s character dynamics, even if the humor is darker than his usual fare.  

Relevant Collaborations: Holderman frequently collaborates with writer/producer Erin Simms (they co-wrote both Book Club films and are engaged partners) (For these big LA filmmakers, the pandemic gave them a new home and a new community: Boulder, Colorado) (For these big LA filmmakers, the pandemic gave them a new home and a new community: Boulder, Colorado). He has directed a star-studded cast of legends – Diane Keaton, Jane Fonda, Candice Bergen, and Mary Steenburgen – twice (For these big LA filmmakers, the pandemic gave them a new home and a new community: Boulder, Colorado), indicating he can manage high-profile talent. As a producer, he worked closely with Robert Redford (producing several of Redford’s films), gaining mentorship in storytelling. These relationships demonstrate Holderman’s ability to work with experienced creators and actors, a plus for guiding Fred Armisen and others in Reality Fiction.  

Awards & Recognition: While not individually decorated with major awards, Holderman’s produced films have earned critical notice (e.g. The Old Man & the Gun was a National Board of Review Top Film). His directorial debut Book Club was a sleeper hit that resonated with audiences (especially older viewers). He received a 2019 CinemaCon award alongside his Book Club cast for the film’s success. His recognition is more in industry confidence – evidenced by a multi-picture deal he landed after the first Book Club’s surprise hit (The Real-Life Couple Behind 'Book Club' Opens Up About 'The Next Chapter' (Exclusive) | Academy Newsletter) (The Real-Life Couple Behind 'Book Club' Opens Up About 'The Next Chapter' (Exclusive) | Academy Newsletter).  

Experience as a Producer: Holderman’s producing experience is extensive. He spent years as a producer for Wildwood Enterprises (Redford’s company), overseeing drama/thriller projects (Bill Holderman - Wikipedia). He has producer credits on at least five feature films before directing (Bill Holderman - Wikipedia). This means he’s adept at budgeting, scheduling, and creatively shepherding a film – invaluable skills for a director on a project like Reality Fiction. In fact, for Book Club, he wore three hats (writer, producer, director) (Bill Holderman - Wikipedia), successfully delivering the film on a $14 million budget to over $100 million gross (Book Club: The Next Chapter (2023) Review - Jason's Movie Blog).  

Budget & Box Office (Most Recent Film): Holderman’s most recent film Book Club: The Next Chapter (2023) had an estimated production budget of about $20 million and grossed $29.1 million worldwide (Book Club: The Next Chapter (2023) - Financial Information). By comparison, the first Book Club (2018) was made for a modest $14M and became a box-office success with $104 million globally (Book Club: The Next Chapter (2023) Review - Jason's Movie Blog). These figures show Holderman’s capability to deliver profitable results on mid-range budgets. His background with both small indie budgets and larger studio finance (from his producing days) suggests he can scale production value appropriately.  

Upcoming Projects & Availability: After Book Club 2, Holderman has not announced another directorial project. He and Erin Simms have hinted at other scripts in development (including a holiday comedy in one interview (Prentice Penny's Mother, Faces Racist Threats While Presiding Over ...)), but nothing public yet. They have an overall deal with a talent agency (The Real-Life Couple Behind 'Book Club' Opens Up About 'The Next Chapter' (Exclusive) | Academy Newsletter). Given this lull after May 2023’s Next Chapter release, Holderman may be relatively free. If Reality Fiction seeks a director who can handle satire with heart and manage production efficiently, Holderman could be a strong choice – especially if he’s looking to branch out from the Book Club series into edgier material.

Dan Fogelman  

Overview of Work: Dan Fogelman is a highly successful writer-producer turned director, known for heartfelt dramedies. He wrote beloved scripts for Pixar/Disney (Cars, Bolt, Tangled) and hit rom-coms (Crazy, Stupid, Love.) (Dan Fogelman - Wikipedia). On TV, he created the acclaimed ensemble drama This Is Us (2016–2022). As a director, Fogelman has made two feature films: Danny Collins (2015), a dramedy starring Al Pacino, and Life Itself (2018), a multi-narrative drama (Dan Fogelman - Wikipedia). His tendencies skew toward emotionally rich storytelling, mixing humor and sentiment, often about family or relationships. Fogelman’s style is earnest and character-centric, aiming to tug heartstrings (as seen in This Is Us).  

Age & Location: Fogelman is 49 years old (born February 1976) (Dan Fogelman - Wikipedia). He’s from River Vale, New Jersey, and is based in Los Angeles for his TV/film career. (He attended University of Pennsylvania and then moved to Hollywood) (Dan Fogelman - Wikipedia).  

Alignment with Reality Fiction: Fogelman’s strength is character-driven drama/comedy, which aligns with Reality Fiction’s focus on characters in absurd situations. However, Reality Fiction’s dark satire may be a departure from Fogelman’s usually sentimental tone. While he hasn’t done outright satire, he has written sharp comedic dialogue (Crazy, Stupid, Love had biting wit, for example). If Reality Fiction has an emotional core beneath the satire, Fogelman could excel at bringing that out. His experience juggling comedy and drama in one story (as in Life Itself, which spans tragedy and humor) might help balance the film’s dark comedy with genuine character moments.  

Relevant Collaborations: Fogelman has collaborated with A-list actors and creators. He worked with Al Pacino and Annette Bening in Danny Collins, Oscar Isaac, Olivia Wilde, and Antonio Banderas in Life Itself, and Steve Carell, Ryan Gosling, and Emma Stone (as writer of Crazy, Stupid, Love). He also partnered with comedy veterans (he wrote The Neighbors, a sitcom, and Galavant, a musical comedy series) (Dan Fogelman - Wikipedia). On This Is Us, he guided a large ensemble cast to award-winning performances. These experiences show he can direct seasoned actors (like Armisen) and coordinate ensemble storytelling, both relevant to Reality Fiction.  

Awards & Recognition: As a writer/producer, Fogelman has significant accolades. This Is Us won Emmy and Golden Globe awards (Sterling K. Brown won an Emmy under Fogelman’s showrunning). Fogelman himself earned Emmy nominations for writing (Dan Fogelman - Wikipedia). Crazy, Stupid, Love earned critical praise and People’s Choice Awards. His directed films received mixed reviews – Danny Collins scored a Golden Globe nod for Pacino, while Life Itself was divisive but nonetheless landed on Amazon’s release slate. Overall, he’s recognized for his storytelling prowess, even if his directing hasn’t been awards-feted.  

Experience as a Producer: Fogelman has extensive production experience, having show-run a major network series for six seasons and executive-produced multiple pilots. He knows how to manage scripts, budgets, and editorial control at a high level. With This Is Us, he was deeply involved in every aspect (casting, editing, music), akin to a film producer’s responsibilities. He also produced his own films (he was the writer-director-producer of Life Itself (Dan Fogelman - Wikipedia)). Thus, he’s well-versed in the producer role, which would help in aligning Reality Fiction’s production with its creative vision.  

Budget & Box Office (Most Recent Film): Fogelman’s latest film as director, Life Itself (2018), had a budget of $10 million and grossed only $7.96 million worldwide (Life Itself (2018) - Financial Information) (Life Itself (2018) - Financial Information), making it a financial disappointment. By contrast, his directorial debut Danny Collins (2015) was a smaller indie (~$10M budget) that earned about $5.6M. Fogelman’s bigger successes have been on TV and as a writer (e.g. Crazy, Stupid, Love made over $140M). These numbers indicate that while he’s experienced, his directorial projects haven’t been box-office hits. That said, his name and track record in television could attract interest and talent to Reality Fiction.  

Upcoming Projects & Availability: After This Is Us, Fogelman has pivoted to new endeavors. He is the creator of an upcoming Hulu series Paradise (premiering Jan 2025) – a political thriller starring Sterling K. Brown (Sterling K. Brown calls 'Paradise' a 'This Is Us' 'family reunion'). This indicates he’s currently busy as a showrunner again. With Paradise occupying late 2024/early 2025, Fogelman’s availability for a film may be limited until that season is complete. However, he has no announced film directing projects, and he might be open to a one-off movie like Reality Fiction if scheduling permits. His overall deal with 20th Television suggests a focus on TV, but if Reality Fiction appeals to his sensibilities (smart satire with heart) and can be scheduled during a gap, he could be a strong contender to direct.

Gaz Alazraki  

Overview of Work: Gaz (Gary) Alazraki is a Mexican director known for blending comedy with social commentary. He burst onto the scene with Nosotros los Nobles (2013), a satirical comedy about a wealthy family falling into poverty (Gary Alazraki - Wikipedia). Nobles became a record-breaking hit in Mexico, celebrated for its sharp take on class privilege (Gary Alazraki - Wikipedia). Alazraki then co-created and directed episodes of Club de Cuervos (2015–2019), Netflix’s first Spanish-language original series, a dark comedy-drama about a dysfunctional family owning a soccer club (Gary Alazraki - Wikipedia). In 2022, he directed the modern Father of the Bride remake, which infused a Cuban/Mexican-American cultural twist into the classic rom-com (Gary Alazraki - Wikipedia). Alazraki’s style is characterized by witty satire, cultural specificity, and heartfelt humor. He often tells stories of family and identity with comedic flair.  

Age & Location: Alazraki is about 46 years old (born 1977) (Gary Alazraki - Wikipedia). He was born and raised in Mexico City and is a prominent figure in the Mexican film industry. He operates out of both Mexico and Los Angeles; he heads Alazraki Entertainment in MX and has worked on U.S. projects like Father of the Bride.  

Alignment with Reality Fiction: Alazraki has strong bona fides in dark comedy and satire. Nosotros los Nobles was explicitly a satire of the rich, praised for its “satirical take on the 1%” (Gary Alazraki - Wikipedia), which aligns with Reality Fiction’s likely satirical tone. He excels at character-driven humor with an edge – Cuervos has biting comedy rooted in sibling rivalry and corporate scheming. This background makes him well-suited to Reality Fiction’s darkly comic, possibly meta narrative. He can navigate the balance between satire and empathy, ensuring the characters remain relatable amid the absurdity – a key for Reality Fiction.  

Relevant Collaborations: Alazraki often works with a stable of talented actors and producers. He launched the careers of Mexican stars like Luis Gerardo Méndez and Karla Souza in Nobles (Gary Alazraki - Wikipedia) (both of whom later had Hollywood success). On Club de Cuervos, he collaborated with Netflix and producers like Gary Alazraki (his father Carlos is a well-known producer/advertising exec). For Father of the Bride, he directed established actors Andy García and Gloria Estefan, proving he can helm English-language projects with Hollywood talent. Additionally, he’s partnered with powerhouse producer Tracey Bing and HBO Max for that film. His ability to bridge Mexican and American production cultures could be valuable if Reality Fiction aims for a unique voice.  

Awards & Recognition: Nosotros los Nobles broke box office records in Mexico (over 7.2 million admissions and $340M MXN gross, the highest ever for a Mexican film at that time) (Gary Alazraki - Wikipedia). Its success drew international attention, with coverage in the NY Times and LA Times highlighting its cultural impact (Gary Alazraki - Wikipedia). Alazraki was subsequently named one of Variety’s Latinxs to watch. Club de Cuervos gained a cult following and put Mexican streaming content on the map. While he hasn’t won major festival awards, his achievement in making Nobles a phenomenon and carving out new ground at Netflix speaks to his talent.  

Experience as a Producer: Alazraki is a multi-hyphenate who writes and produces his projects. He founded his own production company and served as executive producer on Club de Cuervos (Gary Alazraki - Wikipedia). He’s intimately involved in developing material (co-writing Nobles). This producing experience means he’s adept at shepherding a project from concept to screen, working within budget constraints (he stretched a modest budget on Nobles to huge returns). He also has business savvy – as evidenced by his Board Membership at Oceana and entrepreneurial ventures – which could help in managing Reality Fiction’s production.  

Budget & Box Office (Most Recent Film): Alazraki’s recent Father of the Bride (2022) was produced for a streaming-first release on HBO Max; its budget was likely in the mid-range ($25M, given ensemble cast and location shoots), but exact figures aren’t public. It saw no significant box office due to the streaming debut (Domestic Box Office n/a (Father of the Bride (2022) - Financial Information)). By contrast, Nosotros los Nobles had a tiny budget ($5M) and grossed MX$340 million (about $26M USD) in theaters (Gary Alazraki - Wikipedia) – a remarkable ROI. In summary, Alazraki has delivered huge local box office on a shoestring and handled studio-backed projects – showing he can scale according to the film’s needs.  

Upcoming Projects & Availability: Alazraki has been expanding his slate. He recently directed a new Spanish-language film Los Frikis, which won the top jury prize at Miami Film Festival (Michael Schwartz & Tyler Nilson to Remake 'Riders of Justice'). He’s now attached to a high-profile Hollywood project – directing Lionsgate’s remake of Riders of Justice, a dark action-comedy, announced for 2024 (Michael Schwartz & Tyler Nilson to Remake 'Riders of Justice'). This suggests he’s currently busy prepping that remake (a project very much in the dark satire realm). Depending on Riders’ schedule, his availability might be limited in the near term. However, his interest in satire and comedy is evident, and if Reality Fiction can wait until after his Riders of Justice commitment, Alazraki’s bilingual, cross-genre expertise could be a perfect fit to direct.

Natalie Krinsky  

Overview of Work: Natalie Krinsky is a writer-turned-director known for sharp, youthful humor. She made her directorial debut with The Broken Hearts Gallery (2020), a romantic comedy about a woman turning breakup souvenirs into art (The Broken Hearts Gallery - Wikipedia). Prior to that, Krinsky wrote for hit teen/young-adult TV series (Gossip Girl, 90210, Grey’s Anatomy) and created witty female-driven scripts. Broken Hearts Gallery showcases her style: fast-paced banter, millennial romance quirks, and heartfelt comedy. Her writing tends to be comedic with a savvy, contemporary edge – exploring relationships and identity with self-aware humor.  

Age & Location: Krinsky is 40 years old (born August 1982 in New York City). She’s a Yale alumna and is based in Los Angeles, where she’s built her TV and film career.  

Alignment with Reality Fiction: Krinsky’s sensibilities lean comedic and character-driven, which aligns with Reality Fiction’s core (dark comedy and character study). While her debut film was lighter than Reality Fiction’s likely tone, it did have elements of satire on modern dating and social media. Krinsky has shown she can handle comedic timing and ensemble dynamics – valuable for Reality Fiction. If the film’s satire includes relationship or industry satire, her background on shows like Gossip Girl (which satirized high-society teens) could translate well. However, she hasn’t yet delved into truly dark comedy, so Reality Fiction would mark a tonal expansion for her – albeit one her writing chops might rise to.  

Relevant Collaborations: For The Broken Hearts Gallery, Krinsky worked with executive producer Selena Gomez and actors Geraldine Viswanathan, Dacre Montgomery, and Phillipa Soo (The Broken Hearts Gallery - Wikipedia) (The Broken Hearts Gallery - Wikipedia). This project demonstrated her ability to direct fresh comedic talent and coordinate with high-profile producers. In TV, she’s been in writers’ rooms run by Shonda Rhimes (Grey’s Anatomy) and Josh Schwartz (Gossip Girl), indicating she’s collaborated with top industry writers and learned from veteran showrunners. Her network also includes Sony and TriStar (which distributed her film). These collaborations show she has industry support and experience guiding comedy with both newcomers and established creatives.  

Awards & Recognition: Krinsky’s Broken Hearts Gallery earned generally positive reviews for injecting new energy into the rom-com genre. It didn’t snag major awards, but it was notable as a female-directed studio comedy (championed by executive producer Gomez). Earlier, Krinsky’s TV episodes contributed to Teen Choice Award-winning series (Gossip Girl won multiple Teen Choice Awards during her tenure). She’s recognized as a promising female voice in comedy – landing on “Rising Directors” lists after her debut.  

Experience as a Producer: Krinsky’s producing experience comes mainly from TV writing – she served as a producer on shows like Red Band Society and likely as supervising producer in later seasons of Gossip Girl. On her film, she wasn’t the lead producer (that was David Gross), but being the writer-director, she had significant creative control. She is adept at the development process (her Broken Hearts Gallery script was on the Black List and underwent years of production steps). So, while not a veteran producer, Krinsky understands producing from a writer’s perspective and has led a project from script to screen.  

Budget & Box Office (Most Recent Film): The Broken Hearts Gallery (2020) had a budget of $8 million and grossed $4.8 million worldwide (The Broken Hearts Gallery - Wikipedia). Its release was hindered by the COVID-19 pandemic (released in Sept 2020 with limited theaters). Despite modest box office, the film found an audience on VOD and streaming. The controlled budget and Krinsky’s efficient shoot (27 days in Toronto) showed she can deliver a film on budget. The financial outcome suggests her work is better suited for streaming/ancillary success – a distribution path Reality Fiction might also consider.  

Upcoming Projects & Availability: Krinsky is actively expanding her repertoire. As of 2024, she is writing an upcoming thriller for Amazon Studios, co-created with Kim Kardashian attached to star (Kim Kardashian to Star in Upcoming Thriller Movie Following 'AHS' Role). This marks a pivot to darker material for Krinsky (indicating her interest in branching into edgier genres). That project is in script development; if she’s solely the screenwriter, she may have bandwidth to direct another film concurrently. She hasn’t announced a follow-up directing gig after Broken Hearts Gallery. Given her trajectory and the buzz from her Amazon project, Krinsky could be available and eager to take on Reality Fiction. It would allow her to exercise her skills in satire and dark humor, building on the crisp comedic voice she’s already demonstrated.

Michael Lewen  

Overview of Work: Michael Lewen is a newer director who cut his teeth under comedy veterans and made his debut in the teen rom-com space. He directed Hello, Goodbye, and Everything in Between (2022), a Netflix film about high school sweethearts’ last night before breaking up, based on a popular YA novel. Prior to directing, Lewen worked as a producer and assistant on Judd Apatow projects (Trainwreck, The King of Staten Island) (Michael Lewen - IMDb). His style in Hello, Goodbye is sincere and youthful – capturing modern teenage dialogue and emotions with a light, heartfelt touch. He brings a background in comedic production, likely influenced by Apatow’s naturalistic humor, though his debut film leaned more towards drama with comedic moments.  

Age & Location: Lewen is in his early 30s. He graduated USC’s film program in 2011 (Notable Alumni - USC Cinematic Arts), suggesting a birth year around 1989–1990. He is based in Los Angeles and part of the Hollywood comedy circuit (having worked on L.A.-set productions and with Apatow’s team).  

Alignment with Reality Fiction: While Lewen’s directorial work so far is a straightforward teen dramedy (not a dark satire), his background in Apatow-style comedy implies familiarity with improvisational humor and character-centric comedy. Reality Fiction might benefit from Lewen’s experience melding comedy with heartfelt storytelling – for example, The King of Staten Island (where he was associate producer) balanced dark humor and emotional depth, which is analogous to what Reality Fiction may require. Lewen is an up-and-comer who could bring a fresh perspective to the film’s satire, though he’d be less tested in handling overtly dark comedic tones.  

Relevant Collaborations: Lewen has learned from top comedic actors and filmmakers. As an associate producer on The King of Staten Island, he collaborated with director Judd Apatow and star Pete Davidson, absorbing their approach to blending pathos and comedy. He also worked on the Netflix series Love (as a producer/director’s assistant), giving him experience with creator Judd Apatow and actress Gillian Jacobs (Student and Alumni News and Notes - USC Cinematic Arts). For his own film Hello, Goodbye, he worked with producer Matt Kaplan (known for Netflix’s teen hits) and guided young actors Jordan Fisher and Talia Ryder. These collaborations indicate Lewen can work well with comedic talent and handle the logistics of film production, even if he’s relatively new at leading the charge.  

Awards & Recognition: Lewen does not yet have major awards or nominations. His debut received mixed-to-positive reviews for its charming execution, though it wasn’t a breakout hit. However, his trajectory has caught industry notice – he’s listed among “notable alumni” by USC and has secured support from producers like Seth Rogen’s Point Grey for his next project. His recognition is mostly within industry circles as a promising new director rather than via public awards.  

Experience as a Producer: Lewen has substantial production experience for his age. He served as associate or co-producer on multiple films (Trainwreck, The Big Sick, King of Staten Island) and was a supervising producer on the YA comedy Honor Society (2022) (Michael Lewen - Producer, Associate Producer, Director | Filmography). This means he’s well-versed in the nuts and bolts of filmmaking – budgeting, scheduling, post-production – which is rare for a first-time director. In essence, he approaches directing with a producer’s practical mindset, useful for keeping Reality Fiction on track behind the scenes.  

Budget & Box Office (Most Recent Film): Hello, Goodbye, and Everything in Between (2022) was a straight-to-Netflix release, so traditional box office numbers are not applicable. (Netflix does not release viewership figures publicly, but the film did trend briefly on the platform.) The production budget wasn’t officially disclosed, though as a Netflix YA film it’s estimated around $10–$15 million. No theatrical gross is available (Father of the Bride (2022) - Financial Information). Essentially, Lewen delivered his debut within Netflix’s budget framework and timeline, proving he can work effectively in the streaming model.  

Upcoming Projects & Availability: Lewen is actively advancing his directing career. He is currently attached to direct Tiny Fugitives, a coming-of-age comedy film produced by Seth Rogen’s Point Grey Pictures (shooting in late 2024) (Tiny Fugitives - Production List | Film & Television Industry Alliance). Tiny Fugitives (which Lewen also co-wrote) is in pre-production, indicating his focus through 2024 will be there. Additionally, IMDb lists it as in post-production for 2025. This likely occupies Lewen in the near term. If Reality Fiction is looking for a director immediately, Lewen may be tied up; however, post-Tiny Fugitives (say by mid-2025), he could be free. His interest in comedic projects with heart, plus his proven ability to handle comedy-drama, make him a viable candidate if the timing aligns and if the producers are open to a rising director with one feature under his belt.

Tyler Nilson & Michael Schwartz (Nilson & Schwartz)  

Overview of Work: Tyler Nilson and Michael Schwartz are a writer-director duo known for heartfelt, character-driven comedy-dramas. They broke out with The Peanut Butter Falcon (2019), an indie road-trip comedy about a young man with Down syndrome chasing his wrestling dreams (Michael Schwartz & Tyler Nilson to Remake 'Riders of Justice'). PBF was praised for its sincerity, offbeat humor, and uplifting tone, becoming 2019’s highest-grossing indie film (Michael Schwartz & Tyler Nilson to Remake 'Riders of Justice'). Nilson & Schwartz specialize in stories with rustic charm and outsider characters; their style is naturalistic with touches of whimsy. They recently directed Los Frikis (2023), a Spanish-language film about Cuban punk rockers, which won a jury prize at Miami FF (Michael Schwartz & Tyler Nilson to Remake 'Riders of Justice'). Overall, their work blends feel-good storytelling with unconventional heroes, often against Southern or rural backdrops.  

Age & Location: Tyler Nilson is 43 (born July 1981) and Michael Schwartz is around 40 (both are early-1980s-born). Nilson is from North Carolina’s Outer Banks (Catching up with Tyler Nilson | Outer Banks Coastal Life), and Schwartz is from California. The duo operates in Los Angeles now, though Nilson frequently draws on his Southern roots in their projects.  

Alignment with Reality Fiction: Nilson & Schwartz excel at character-centric narratives and can certainly handle comedic elements. Reality Fiction might be more biting and satirical than their previous film, but these directors have shown they can incorporate humor and thematic depth gracefully. Importantly, their films carry a positive, humanistic vibe – whereas Reality Fiction might be darker. If the film’s satire still has a heart (like using humor to ultimately affirm something), Nilson & Schwartz’s touch could shine. Notably, their upcoming assignment is to remake Riders of Justice, a Danish dark action-comedy (Michael Schwartz & Tyler Nilson to Remake 'Riders of Justice'), indicating they are expanding into darker comedic territory. This makes them increasingly suitable for Reality Fiction’s mix of dark comedy and sentiment.  

Relevant Collaborations: The duo’s debut film involved collaboration with notable actors Shia LaBeouf, Dakota Johnson, and newcomer Zack Gottsagen (who has Down syndrome). They guided Gottsagen to an award-winning performance and worked closely with producers Albert Berger & Ron Yerxa. Their partnership dynamic (Nilson generates big ideas, Schwartz refines them (Catching up with Tyler Nilson | Outer Banks Coastal Life)) has been effective. With Riders of Justice, they’ll be working with producer Shawn Levy and 21 Laps at Lionsgate (Michael Schwartz & Tyler Nilson to Remake 'Riders of Justice'), a major step into studio filmmaking. These experiences show they can work with both indie teams and larger studio infrastructure. Their ability to coax authentic performances from actors (especially in comedic-dramatic blends) would benefit Reality Fiction, and their growing network now includes heavyweights like Levy.  

Awards & Recognition: The Peanut Butter Falcon was a critical and audience favorite, winning the SXSW Audience Award and a Directors Guild nomination for First-Time Feature (Michael Schwartz & Tyler Nilson to Remake 'Riders of Justice'). It also made the National Board of Review’s Top Ten Independent Films (Michael Schwartz & Tyler Nilson to Remake 'Riders of Justice'). Nilson & Schwartz became known as feel-good filmmakers with an edge. They haven’t received Oscar nominations, but PBF’s box-office success (~$23.7M on a $6.2M budget) (The Peanut Butter Falcon - Box Office Mojo) and awards buzz put them on Hollywood’s radar. Los Frikis adding a festival jury prize to their resume reinforces that they can tackle diverse material successfully.  

Experience as Producers: The pair effectively produced Peanut Butter Falcon by developing it independently over years (they famously lived in a tent in NC while writing). They are storytellers who see projects through from conception to completion. With PBF, they navigated financing, casting, and even distribution (the film became a sleeper hit through word-of-mouth). While they work with producing partners, Nilson & Schwartz are hands-on in creative producing – e.g., they ensured PBF retained its authentic voice. Now with bigger projects, they’ll still likely maintain involvement in script and edit (they wrote Riders’ adaptation). So, they have practical producing know-how and the grit to get films made against odds – a valuable trait for Reality Fiction.  

Budget & Box Office (Most Recent Film): The Peanut Butter Falcon had a $6.2 million budget and grossed $23.7 million worldwide (The Peanut Butter Falcon - Box Office Mojo), making it the highest-grossing indie of 2019 (Michael Schwartz & Tyler Nilson to Remake 'Riders of Justice'). This demonstrated the duo’s ability to make a financially and critically successful film on a modest budget. Los Frikis is still on the festival circuit (no box office yet). Their track record suggests they can work within budget constraints and still deliver an appealing product. They also attract audiences looking for quality offbeat content – a promising sign for Reality Fiction’s potential reception.  

Upcoming Projects & Availability: Nilson & Schwartz are currently attached to direct the Riders of Justice remake for Lionsgate (announced May 2024) (Michael Schwartz & Tyler Nilson to Remake 'Riders of Justice'). That project likely keeps them busy through 2024 and possibly 2025 (production and post-production). If Reality Fiction can wait until they complete Riders, the duo could be available afterward. Their creative docket also includes a Spanish-language film (likely Los Frikis distribution) and a TV series in development (they’ve mentioned an Apple TV+ project set in LA (Catching up with Tyler Nilson | Outer Banks Coastal Life)). They are in high demand due to their recent successes. Still, if timing aligns, Nilson & Schwartz offer a proven blend of humor and heart. They would bring a warm, character-focused lens to Reality Fiction, ensuring the satire doesn’t lose its human element.  

Prentice Penny  

Overview of Work: Prentice Penny is best known as the showrunner of HBO’s Insecure – a dramedy acclaimed for its honest, funny take on modern life and relationships. He has a background in television writing for comedies (Girlfriends, Scrubs, Happy Endings, Brooklyn Nine-Nine) (Prentice Penny - Wikipedia). In 2020, Penny made his feature directing debut with Uncorked, a Netflix film about a man pursuing his dream of becoming a sommelier against his father’s wishes (Prentice Penny - Wikipedia). Uncorked showcased Penny’s style: grounded, character-driven storytelling with humor drawn from everyday family and cultural interactions. His work often centers on contemporary Black experiences, mixing laugh-out-loud moments with poignant commentary – a tone that could align with Reality Fiction’s satirical yet character-focused approach.  

Age & Location: Penny is 51 years old (born December 1973) (Prentice Penny - Wikipedia). He’s from Los Angeles (raised in a family who feature in one of his reality shows) (Prentice Penny - Wikipedia). He continues to live and work in L.A., a hub for his TV production activities and film endeavors.  

Alignment with Reality Fiction: Penny’s experience on Insecure is highly relevant – that series was a comedy with sharp social satire elements (critiquing dating, tech culture, etc., albeit in a grounded way). He is adept at dark humor too (some Insecure episodes tackle heavy issues with biting comedy). Reality Fiction being a dark comedy/satire would benefit from Penny’s knack for blending authenticity with satire. Additionally, as a writer, he’s skilled in meta-humor (he even created a meta comedy special Upscale with Prentice Penny where he humorously explores lifestyle topics). He can definitely handle character-driven satire and likely elevate the material with culturally aware insights.  

Relevant Collaborations: As Insecure’s showrunner, Penny worked closely with Issa Rae and Larry Wilmore, guiding a writers’ room and a cast that included comedians like Lil Rel Howery and dramatic actors alike. He also directed Jay-Z’s music video “Moonlight,” which was a satirical short film parody of Friends. In film, Uncorked starred Courtney B. Vance and Niecy Nash – showing he can direct veteran actors. Penny has also partnered with HBO, Netflix, and now Disney’s Onyx Collective (he inked an overall deal with Onyx in 2021 for future projects (Prentice Penny - Wikipedia)). These collaborations illustrate Penny’s ability to work within the studio system while maintaining a distinct voice. His network of top-tier talent and writers could be tapped to enhance Reality Fiction.  

Awards & Recognition: Under Penny’s stewardship, Insecure became an Emmy-nominated and Peabody Award-winning series. While Issa Rae and others were the faces, Penny’s contribution earned him industry respect – including an NAACP Image Award for Outstanding Comedy Series as an executive producer. Uncorked didn’t make a big awards splash, but was noted for its authentic writing. Penny’s recognition lies in being a trusted creative (HBO entrusted him with a second season of Pause with Sam Jay, for instance (Prentice Penny - Wikipedia)). His name attached to Reality Fiction would carry weight, signaling quality to those familiar with his work.  

Experience as a Producer: With decades in TV, Penny is a seasoned producer. He served as Executive Producer on Insecure for five seasons (Prentice Penny - Wikipedia), meaning he oversaw everything from scripting to post-production. He has produced pilots and series (like Brooklyn Nine-Nine as consulting producer) (Prentice Penny - Wikipedia). He also produced his feature Uncorked (credited as writer/director, he certainly was involved in production decisions). Additionally, Penny has experience in reality TV production (he hosted and EP’d Upscale on TruTV). All this showcases strong leadership and project management abilities – a major plus for directing a film. He’s used to balancing creative vision with practical constraints, exactly what a director of Reality Fiction will need to do.  

Budget & Box Office (Most Recent Film): Uncorked (2020) was released on Netflix during the pandemic; thus it had no theatrical box office. Its production budget was relatively modest (estimated ~$5–10M range, given it’s a family drama mostly set in Memphis and Paris). The film was produced by Netflix and did not rely on ticket sales. In lieu of box office, its success can be measured by viewership and reception – it scored well on Netflix’s metrics for the week of release and earned a 95% Audience Score on Rotten Tomatoes. This indicates Penny delivered a satisfying film on budget. Should Reality Fiction pursue streaming or limited theatrical, Penny’s experience with Netflix suggests he knows how to craft a film that works for that model.  

Upcoming Projects & Availability: Penny has multiple irons in the fire, primarily in television. He’s developing two new scripted series for HBO (The Untamed, an epic fantasy, and Queens, a New York immigrant drama) (Prentice Penny - Wikipedia), and he executive produces PAUSE with Sam Jay on HBO (renewed for Season 2) (Prentice Penny - Wikipedia). He also has an overall deal with Onyx Collective (Disney) to create content (Prentice Penny - Wikipedia). These commitments suggest a busy schedule in TV development. However, it’s possible these are at various stages and might not all go to series at once. Penny has not announced another feature film yet – he may be open to one, especially if it’s a compelling project like Reality Fiction. If scheduling can be arranged (perhaps filming during a hiatus in his TV slate), Penny’s availability could align. Given his love for branching into film (he described Uncorked as a passion project), he might jump at Reality Fiction as an opportunity to do a dark satirical film. His skillset and track record make him a very strong candidate to helm the movie, provided his other projects can accommodate it.

"Seeds"

Marking Kaniehtiio Horn's directorial debut, this Canadian comedy-thriller follows Ziggy, a young Mohawk woman and aspiring social media influencer, who defends her family's garden from thieves. The film won the Jean-Marc Vallée DGC Discovery Award, highlighting its impact as a debut feature.

• Director: Kaniehtiio Horn

• Producers: Jennifer Jonas and Leonard Farlinger

• Wikipedia Link

"Universal Language"

Directed by Matthew Rankin, this eccentric Canadian comedy explores themes of communication and human connection through a unique narrative style. The film received the Best Canadian Discovery Award 

• Release date: October 18, 2024

• Director: Matthew Rankin

• Producer: Sylvain Corbeil

• Wikipedia Link

“American Fiction"

A satirical drama that critiques the commodification of Black stories in America, it secured Best Screenplay for Cord Jefferson and saw Jeffrey Wright honored with Best Lead Performance.

• Director: Cord Jefferson

• Producers:  Ben LeClair, Nikos Karamigios, Cord Jefferson, Jermaine Johnson

• Wikipedia Link

"The Holdovers"

A dramedy set in the 1970s about a curmudgeonly teacher supervising students during Christmas break, it won three awards: Best Supporting Performance for Da'Vine Joy Randolph, Best Breakthrough Performance for Dominic Sessa, and Best Cinematography for Eigil Bryld.

• Director: Alexander Payne

• Producers: David Hemingson, Mark Johnson, Bill Block

• Wikipedia Link

"Bottoms"

A teen sex satirical comedy about two high school girls who start a fight club to lose their virginity, it received a nomination for Best Screenplay for Emma Seligman and Rachel Sennott and saw Marshawn Lynch nominated for Best Breakthrough Performance.

• Director: Emma Seligman

• Producers: Elizabeth Banks, Max Handelman, Alison Small

• Wikipedia Link

"Bob Trevino Likes It" 

This comedy-drama, directed by Tracie Laymon, tells the story of a young woman who, while searching for her estranged father online, forms an unexpected bond with a man of the same name. The film won both the Grand Jury Award and the Audience Award in the Narrative Feature Competition.

• Director: Tracie Laymon

• Producers: Tracie Laymon, Edgar Rosa, Sean Mullin, Felipe Dieppa

• Bob Trevino Likes It (2024) 

"My Dead Friend Zoe"

A dark comedy directed by Kyle Hausmann-Stokes, it explores the humorous and poignant journey of a man who, after the death of his best friend Zoe, begins to see her ghost, leading to unexpected life changes. The film won the Audience Award in the Narrative Spotlight category.

• Director: Kyle Hausmann-Stokes

• Producers: Paul Scanlan, Kyle Hausmann-Stokes, Terri Lubaroff, Ray Maiello, Mike Field, Richard Silverman, Robert Paschall Jr.

• Wikipedia Link

"Dìdi"

Directed by Sean Wang, this semi-autobiographical dramedy set in 2008 follows a young pop-punk enthusiast and skater named Chris. The film won the Audience Award: U.S. Dramatic and received critical acclaim for its heartfelt storytelling.

• Director: Sean Wang

• Producers: Sean Wang, Josh Peters, Carlos López Estrada, Valerie Bush

• Dìdi

"A Real Pain"

Written and directed by Jesse Eisenberg, who also stars alongside Kieran Culkin, this film explores the journey of two cousins on a Holocaust tour in Poland, blending comedy with raw emotion. Eisenberg was honored with the Waldo Salt Screenwriting Award for this work.

• Director: Jesse Eisenberg

• Producers: Ewa Puszczyńska, Jennifer Semler, Jesse Eisenberg, Emma Stone, Ali Herting, Dave McCary

• A Real Pain

"Griffin in Summer"

Directed by Nicholas Colia, this coming-of-age comedy centers on 14-year-old aspiring playwright Griffin Nafly, whose summer takes an unexpected turn when he becomes infatuated with a 25-year-old handyman. It won three awards: Best U.S. Narrative Feature, Best Screenplay, and a Special Jury Mention for director Colia.

• Director: Nicholas Colia

• Producers: Juliet Berman, Bobby Hoppey, Camila Mendes, Rachel Matthews, Matthew Miller

• Griffin in Summer

"Vulcanizadora"

A black comedy thriller by Joel Potrykus, the film follows two friends on a disturbing mission in the Michigan woods. Actor Joshua Burge received a Special Jury Mention for Performance in a U.S. Feature for his impactful portrayal, noted for its depth and vulnerability.

• Director: Joel Potrykus

• Producers: Hannah Dweck, Matt Grady, Ashley Potrykus, Theodore Schaefer

• Vulcanizadora