An interview with Stephen Meadows ("It's Only Life")

Stpehen Meadows

Stephen Meadows is not an ordinary filmmaker. His story—like his projects—is a testament to perseverance and the belief that it’s never too late to follow your passions. Stephen didn’t begin his journey in Hollywood; he started as an instructor of architecture in San Francisco. But a chance opportunity came when one of his students, also a part-time casting director, cast him in a national wine commercial. That commercial—and the paycheck that followed—sparked Stephen’s career pivot, quickly earning him a SAG card and at 34, a contract role opposite Robin Wright on Santa Barbara.

Since then, Stephen has appeared in over 100 TV shows and features. Yet frustration with uninspired scripts ignited a deeper ambition: writing. His insistence on elevating dialogue often labeled him “difficult,” but also fueled his resolve to write stories that resonate, offering audiences something to think about long after the credits roll.

Stephen’s most personal project, It’s Only Life, exemplifies this vision. Based on true events, it has garnered significant interest within the industry. With a stellar team that includes Oscar winner Eric Roth as story consultant, veteran casting director Mary Jo Slater and acclaimed cinematographer Cory Geryak to direct, the controversial film is poised to make waves.

At its core, It’s Only Life is more than a family drama. It’s a story about resilience, reconciliation, and the complexity of family relationships in dealing with end-of-life decisions. As Stephen puts it: “This is a story that matters. My other works are more commercial, but this is the kind of film that stays with an audience. It’s heartfelt, relatable, and important.”

In a film industry dominated by superhero franchises, action, and horror, It’s Only Life offers something refreshingly meaningful. It seeks to connect with audiences on a deeply human and spiritual level, reminding us of the beauty and fragility of life.

No stranger to storytelling, Stephen resurrected and rewrote his screenplays during the pandemic, earning over fifty international screenwriting awards across four scripts. His documentaries and illustrated storyboards have won international accolades as well.

Now, Stephen is taking another creative risk: deliver an independent film in today’s market that heralds a time when they explored the human condition and left audiences reflecting on life’s important choices. 

With a strong creative team, a visionary director, and Stephen’s ability to turn challenges into triumphs, It’s Only Life is positioned to be a success in the indie film world.

Stephen established It’s Only Life as a non-profit enterprise; all contributions are tax-deductible, support dying with dignity as a humanitarian cause and explore the disparities in healthcare for those with a terminal illness and the elderly.

How old you were when you decided you wanted to make films? 

Around ten. But growing up in a conservative family, I faced discouragement from my parents and the Southern attitudes of the 50s and 60s. I became an architect as a way to make a living with my drawing ability.

Stephen Meadows and Robin Wright

Your career journey is incredibly unique, starting as an architecture instructor and transitioning into acting, writing, and now producing. What motivated you to make these significant shifts?  

I always wanted to act and produce films since a young age, but my career as an architect was doing well and I was locked in to a degree. When the opportunity came for me to jump in after earning a SAG card, I decided to give it a try. I also discovered that more teachers became actors than from any other field. I had another professor take my classes for a semester in San Francisco and came to LA with a referral to an agent, thinking I would go on auditions for six months, and if nothing happened, return to teaching in the bay area. I was very lucky to land the role on Santa Barbara shortly after arriving in LA.

You’ve mentioned frustration with uninspired scripts during your acting career. Can you share a specific experience that sparked your desire to write your own stories?

When Santa Barbara started, there was a revolving door of writers and directors, as the show was new and adjustments were constantly being implemented. As a fledgling actor, I had issues with some of the dialogue that was being written by a different writer every week it seemed. When I would rehearse with A. Martinez, I noticed he was always rewriting his dialogue and getting approval from the director in the mornings. I thought, “We can do this?” From then on, I was always trying to improve the words coming out of my mouth. As years went by, this resulted in being labeled ‘difficult,’ but I knew when something was working and when it was not. My thinking was, “Heck, I can write better than some of the scripts I’m reading.” My first screenplay I wrote in the early 90s and it was green-lit. I had LOI’s from actors like Jane Russell and Stuart Whitman as well as from one of the Beach Boys to create the music. Locations were scouted, the film was bonded and we were ready to go. Then the production company suddenly folded. I had spent two years of my life on the project and was so discouraged that I shelved the script and didn’t pull it out again until the pandemic.

Your screenplays have earned so many awards and accolades. How do you approach storytelling, and what do you believe sets your work apart?

I try to write stories that are easy to follow, as due to the multitude of choices with streaming, viewers bounce around but like to come back to something they like and not miss much. I also stick to the time-honored practice of being detailed in the stage directions, so a director/reader clearly understands the scene. Scripts I have read by great writers are generally dense and well described. But a few notes I have received from young readers tell me to allow for more ‘white space.’ To me, this is nonsense and simply a trend, especially since I usually intend on producing the project.

The indie film market has changed significantly over the years. How do you see It’s Only Life fitting into today’s landscape?

There is a significant lack of introspective films today, particularly those dealing with life-choices affecting us all. It’s Only Life is a film designed to stand out for its unapologetic approach to some of the most important and difficult decisions we all must make at some point in our lives.

What was your goal with this particular film?

To make a film that resonates and encourages audiences to reflect on their life-choices and spirituality.

What’s the message of It’s Only Life? 

That life is a temporary state of consciousness—a journey to explore.

Biggest fear? 

Not living long enough to finish this damn film.

Life lessons learned? 

“Admiration for success without integrity reflects a regrettable disbelief in humanity’s purpose.” “No one ever went broke underestimating people’s intelligence.” “We all make the best mistakes we can.” - Character dialogue from my screenplays. But I try to abide by Mark Twain’s: “If you tell the truth, you don’t have to remember anything!”

What have your experiences working with A-list actors and big-budget films been?

A-listers can change lines and demand retakes—privileges that come with their box-office draw. I recall doing 21 takes before the actor I worked with was content. The director was pulling his hair out. For new actors, attempting this might ruin your career. Big budgets also allow enough time for rehearsal, but sometimes studio writers are brought in to ‘fix’ scripts when they are not working. This can lead to a committee designing a horse that ends up as a camel.

What are some of the most influential people you worked with? 

Probably James Keach. I did three projects with James and he was one of the few directors that encouraged me to take chances. In the 90s, many television directors of drama rarely discussed the characters with the actors, as they were under pressure to get it in the can.

What is your opinion of AI in filmmaking? 

It’s an amazing tool and inevitable that soon we will be able to make great films and create wonderful characters using simple prompts. Every writer/producer I know is waiting for the time when truly realistic films can be made from their desktop. At present, AI helps me create storyboards, and that’s taken place almost overnight. In a few years, producers will be able to deliver wonderful characters and the viewer will swear they are living actors. There will be regulations and restrictions, but how do you stop someone in Borneo from making and uploading them across the Internet?

Thoughts about the studio system for aspiring writers?

If you sell them your screenplay, be prepared to have it shelved or possibly changed to something you might not recognize.

What is your message to writers about selling their work?

Say ‘bye-bye’ and move on. It’s not yours anymore.

What are your thoughts on screenwriting competitions? 

They are pretty worthwhile if you get the feedback and rewrite. As for climbing the Hollywood ladder, don’t expect a lot of attention even if you win. Like most other businesses, it’s about building trust. That takes time and personal relationships. I discovered that most screenwriting competitions don’t consider a screenplay’s budget, so writer/producers wishing to make their own independent films are somewhat disadvantaged. Producing your own work is about being practical with your imagination.

Do you have a message for actors wishing for their break? 

Realize that 95% of the money is made by 3% of the people. You can watch any acting class and pick out the talent. But unrewarded talent is a proverb in Hollywood. Also understand that actors are paid to wait and work for fun. Once I was on set for 26 hours before shooting my scenes.

Alongside your visual-media work, do you do any charity work?

I used to write a check at Hollywood charity events. Then I discovered the percentage of my donation getting to those in need was far less than expected. In my early 50s, I wanted to make a direct difference and volunteered at Mother Teresa’s Home for the Dying in Lima, Peru. The following year I went to Sri Lanka after the Tsunami for Habitat for Humanity and built homes for the victims. I then became a volunteer in the ER at Cedars Sinai Hospital. The rewards are immeasurable when you are hands-on and inspirational for writers.

Why is It’s Only Life a non-profit film? 

Only one in 50,000 independent film scripts make it to the screen. Of those, only one in ten make a profit. Independent films are a big risk for investors. With a non-profit film, the investor receives a large tax deduction, participates in the marketing revenue and supports an important humanitarian cause.

What are some of the difficulties of making an independent film? 

Raising the money.

What can you tell us about your next project?

At 74, I don’t think too much about ‘next’ these days. It’s Only Life is the priority, although I have three other scripts I’d like to produce if time allows.

What are your thoughts about the direction in which filmmaking is heading these days?

I usually see at least five films a week. The majority of choices prioritize entertainment over substance. When I wonder why there are no more thought-provoking films, I’m reminded that the answer to most questions beginning with “Why” is money and that Hollywood is in the business of making hits, not necessarily meaningful films. To me, this presents a challenging opportunity.

Looking back on your career, what are you most proud of?

Winning ‘Screenplay of the Year’ in Las Vegas was definitely a high point. Recently, a producer friend asked me to play Whitey Bulger in a series he is producing. It was one of the best shoots I have ever experienced and the entire cast and crew were amazing. It also allowed me to play a true character, which is why I got into the business in the first place. Casting directors and agents I worked with years ago always put me in the ‘leading man’ box and never let me out. Finally, I’m old enough to get really crazy on camera!

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Where can our readers follow more of your work?

Stephen Meadows website: stephenmeadows.com

On IMDb: Stephen Meadows Filmography

It’s Only Life on IMDb: It's Only Life Screenplay

It’s Only Life non-profit: It's Only Life information