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The ��ƷSM����ӰƬ Cinema Studies and Moving Image Arts assistant professor is finding success as an independent filmmaker

When Skinner Myers shoots a movie, he doesn’t need a Hollywood backlot, a multi-million-dollar budget or even a month-long shooting schedule. For Myers, a career in film isn’t about glitz and glam. It’s an opportunity to tell stories he’s passionate about while adhering to a moral code.

That dedication to his craft has carried him on a lengthy path full of unexpected twists to who he is today: an award-winning filmmaker and .

“I submitted an original pilot and I got selected. It’s really opened up my network to individuals that I probably could reach as … an indie filmmaker professor,” Myers says of the opportunity. “So, it’s been good. The timing has been really good.”

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Skinner Myers, a ��ƷSM����ӰƬ assistant professor of cinema studies and moving image arts, recently received an Amplifier Fellowship from Film Independent.

He’s currently in the middle of two projects, including Tragic Boogie, a pro-wrestling crime drama, and a feature film called Mood Swing Whiskey.

“We shot the latter in March of this year in Los Angeles during CU’s spring break. It’s a slow-cinema, avant-garde horror thriller shot on black-and-white Super 16 film,” he says.

Earlier this year, another of Myers’ films premiered at the Berlin Critics Week film festival and was quickly picked up by a distributor, with a release planned for 2026.

But for Myers, an assistant professor of cinema studies and moving image arts at the ��ƷSM����ӰƬ, these are more than artistic milestones. He sees each one as proof that it’s still possible to make bold, personal work outside the traditional Hollywood system.

Rewriting his own script

Myers didn’t originally set out to be a filmmaker. In fact, he spent much of his early career pursuing gigs on the other side of the camera.

“I was originally an actor, starting at the age of 18,” he says.

He moved to New York City to study acting, performed in off-Broadway plays and started a band. After 9/11, he relocated to Los Angeles in search of commercial work but found the industry disheartening.

“I got quickly disillusioned with the idea of making it as an actor,” Myers recalls.

Rather than ending the story there, Myers decided to pick up the camera for himself. He began experimenting with documentaries, including a self-financed trip to Uganda to shoot a vérité-style doc in the slums of Kampala.

“After that, I applied to film school, which was a big change for me, because this entire time I was an actor, I didn’t know much about filming,” he says.

“I remember one of the teachers who had seen my feature doc during the admissions process asked me, ‘Why do you want to come to film school? You’re already making films.’ At the time I didn’t really understand the question, which I do now, but I wanted connections, so I went anyway,” he adds.

After stints in graduate school, work on the TV series True Detective, and a job teaching film to middle and high schoolers, Myers began producing short films on the side. Eventually, he landed a full-time role at Loyola Marymount University, which allowed him to finance his first feature, The Sleeping Negro, shot in just six days and on a $40,000 budget.

The film went on to , receive coverage in the Los Angeles Times, and score a 100% rating on Rotten Tomatoes after being screened in 20 countries.

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Filmmaker Skinner Myers shot his film The Sleeping Negro in just six days and on a $40,000 budget. It went on to , receive coverage in the Los Angeles Times and score a 100% rating on Rotten Tomatoes after being screened in 20 countries. (Photo: Josiah Myers)

“It won lots of awards, and that was when I started to apply for tenure-track positions outside of LA, just because LA was really expensive for my growing family,” Myers said.

His momentum carried him to Boulder and gave him the confidence to keep shooting films.

A radical approach to independent cinema

Myers is committed to a filmmaking approach he describes as deeply personal, politically intentional and structurally independent.

“One of the things that makes my approach unique is the lack of resources I’ve had,” he says. “I’ve never had more than six days to make a feature.”

Efficiency—often forced by that lack of resources—is reflected in his poignant, narrative-driving scripts and his low shooting ratio. One thing he splurges on is shooting exclusively on film. These decisions are as much logistical as they are part of his larger philosophy on telling a meaningful story, Myers says.

“I’m also a huge fan of the Black radical cinematic traditions that come before me,” he says, citing the influence of Oscar Micheaux, Haile Gerima and Charles Burnett.

“I want to create films that connect the traditions from the ’30s, ’40s, ’50s, ’60s and ’70s to today, because I feel like that bridge has not been connected,” he adds. “These are the things I think about as I’m writing, as I’m thinking through visuals, as I’m thinking about characters, making something that is not only equitable to the crew and cast financially, but is unique in its own way.”

His latest project, Tragic Boogie, is a crime thriller set in the world of professional wrestling.

“We just finished the script on that one. I’m really stoked on it because I think it’s something that, for pro wrestling fans, they’ll totally attach to, but it’s still me and still the type of film I want to make,” Myers says.

Thematically, the film explores how bodies, especially those of Black athletes, are commodified and discarded in entertainment industries.

Myers also sees it as a community project.

“Really, my goal is to make the film here in Denver and really try to bring the local community together and have everyone involved, and even have some students involved,” he says.

Amplifying voices from screen to classroom

Earlier this year, Myers received an Amplifier Fellowship from Film Independent, a nonprofit arts organization that supports emerging filmmakers. The program, sponsored by Netflix, is designed to elevate underrepresented voices in film.

“It’s been great,” Myers says. “Materialistically, I got financial support. But more importantly, I’ve gotten some new mentors in my life who really understand what I’m trying to do.”

“They have a lot more experience than I do. They’re a lot older. And that’s been really nice, getting some of that wisdom and guidance,” he adds.

The fellowship also has given him precious time. It’s a gift he’s using to write, to collaborate and to think about what kind of artist and educator he wants to be as his career continues to develop.

At ��ƷSM����ӰƬ, Myers sees filmmaking and teaching as two parts of a whole. He makes a point to include students in real productions and to demystify the business side of the industry by sharing real stories from his own work and that of his colleagues.

“I try to use my work to show students that, ‘Hey, this is totally doable,’” he says. “I try to bring in these real-world experiences as they’re happening to me. And I’m very candid and open with my students.

“I’ve made three features at this point. I’ve gone through the distribution process (and) the festival process,” he says. “That way, they can see, all right, there’s a way to balance some type of life where you make money and your artistic life.”

Staying true to the story

As for what’s next, Myers is passionate about continuing to create projects that don’t always fit into a press kit.

“I’m not trying to make a Hollywood film; that doesn’t interest me,” he says.

He also encourages young filmmakers to choose their medium with purpose and not to be afraid of change.

“There are a lot of artistic mediums out there other than film,” he says. “So, really know why you need to use that medium to say what you want to say and not something else.”

And if that calling ever changes?

“It’s OK to not do this forever,” he says. “Maybe you say what you want to say in five films. It’s OK to say, ‘OK, I’m going to do something else in my life.’ That’s totally OK.”

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