Chicago native, writer, director George Ellzey Jr is breaking barriers for independent filmmakers. Having recently graduated with distinction from DePaul University’s MFA program in Directing for Film and Television, Ellzey dares to explore often ignored narratives of minorities in film, specifically focusing on the black male experience.
His thesis film, Cottage Grove, has won three awards at the DePaul Premiere Festival and was a finalist for the Camera Ambassador Community Grant (2022) and the BlueCat Screenplay Competition (2022).
The film stars Patrick Agada and Sean Blake. It’s a gripping tale about forgiveness, healing, and the choices we make that impact family dynamics. It centers around a young man struggling to communicate with his stroke-afflicted father. Set in the summertime in Chicago, these men try to find common ground in a South Side grocery store parking lot. In stark contrast to the street lit setting and all its complexity is the simple beauty of a father-son reconciliation found unintentionally through halting words, meaningful looks, flights of fantasy, and ultimately love.
The story is loosely inspired by Ellzey’s relationship with his own father. “Cottage Grove is for every black boy who needs their dad, brown girl that wants mutual understanding with their mom, and every human being who needs an apology from their parent to heal,” says Ellzey.
Reel Chicago had the opportunity to talk first with George Ellzey Jr and then with actor Patrick Agada about their experience working on the film.
Why did you choose the title Cottage Grove? Explain the significance Chicago plays in the film.
Ellzey: 50th and Cottage Grove is where I was inspired to write this story. Growing up on the south side of Chicago shaped my perspective as a storyteller. From riding the 55-bus west to go home or splurging at the local cornerstone for whatever I could get with $2, to losing time in Hyde Park at local mom and pops, the southside gave me rich stories, visuals, and experiences unique to my community. The title is a specific nod to a neighborhood I have ties to, yet the beauty of this short film is that this moment between a son and father could happen right down the street anywhere.
You mentioned that the film is loosely inspired by a real-life occurrence between you and your father. Describe the relationship between you two and how that shaped the characters in the film.
Ellzey: Before 2019, my father was not in my life. In 2021 while we were building a friendship, he had a stroke. The setting for Cottage Grove matches what happened in real life. I picked up my father and his girlfriend from the hospital, we stopped at a grocery store, and my father and I sat in a car for an hour. It was the first time we were alone together. We listened to jazz and did not speak much, but a lot was said in the silence. My relationship with my father is growing, and with that comes growing pains. There’s awkwardness at times of negotiating the past, our present-day expectations of each other as men, and figuring out our relationship for the future. Emmanuel and Senior in Cottage Grove are tackling all those emotions one night in Bronzeville. Yes, the characters have traces of my father and me, but they go further than my experiences. These characters and the conflict are a tapestry of moments found on the CTA, conversations with friends about their parents, and overheard stories from walks around the city.
Did you discover anything about yourself when writing the script?
Ellzey: The process of writing Cottage Grove affirmed my love for slice-of-life films. Theoretically, living is simple. We each have tasks, moral codes, societal responsibilities, and dreams that we each strive for and yet, there is so much complexity and grayness to living that colors each of our day-to-day experiences. One of my favorite quotes from Mark Twain is “Truth is stranger than fiction.” Although I love fantasy films and big blockbusters, I am intrigued and motivated as a writer and director to explore the weirdness in simple stories.
How long did it take you to get from script to screen?
Ellzey: It took a year and a half to bring Cottage Grove from the page to the screen. I wrote my final draft of Cottage Grove in June 2021 and continued to revise it until December 2021. I wrote over ten versions of the script until the story, characters, and message of the film were clear. In the spring of 2022, we began pre-production for the short. In August 2022, we filmed Cottage Grove– 5 days of production in Bronzeville. Fall of 2022 until the spring of 2023 we were in post-production. We could not have made or finished the film without our IndieGoGo donors. With their support, we raised $15,000 for Cottage Grove.
Were there any challenges when developing the script or shooting the film?
Ellzey: Finishing the script, I knew I needed the right actors and DP to bring this story to life. O’Connor Casting Company found us top-iter talent from around Chicago. Without David O’Connor, Virginia Anello, and Jessica Lyons, we would not have such a strong cast. For a DP, I wanted a black cinematographer. I was introduced to Gary Truex Walker II via Instagram, and we clicked once we met. With his industry experience, enthusiasm, and cultural connection to the story, together we crafted visuals that amplify the emotional beats and themes of the story. He is a trusted collaborator and now, a brother of mine.
Production for Cottage Grove was smooth due to my supportive producers- Kat Blade, TJ Harris, Keiph Oliver, Jordan Rivers & Cara Winter. I am beyond grateful for the hard work of my talented cast and crew and the support we received from the community. I must acknowledge the faculty and staff at DePaul University for their mentorship and production assistance in all phases of making this film. Special thanks to Ada S. McKinley Community Services and the Apostolic Faith Church for allowing us to film at their locations. Also, I am grateful for the growing collaboration and friendships at NoiseFloor LTD and QuickSilver Color- they worked magic in post-production.
Who is your target demographic and what do you want them to gain from watching this film?
Ellzey: I made the film for black men, but the message of reconciliation is universal. Cottage Grove is about getting an apology from a parent. I hope the film encourages audiences to face strained relationships in their lives while giving them the courage to face and accept areas in them that are unresolved.
What got you into filmmaking, specifically writing & directing? Was there a defining moment?
Ellzey: I have always been a storyteller. As a child, I played with action figures and bears to make stories to pass the time. As an adult, I carried that love of stories into my career as an actor, however, I stopped in 2015 to pursue telling my stories. At first, I wrote and acted in my projects but when I co-directed my first short film, DIVISION, I realized directing was “my thing.” I enjoyed creating a safe environment on set for actors to take risks, play and expose their vulnerabilities to find the truth of the character in the scene instead of trying to please me. I am an actors’ director. I want to provide actors with hearty roles on the page and freedom and safety on set for them to succeed.
What has it been like working in the Chicago film scene?
Ellzey: Overall, my experience of navigating the Chicago film scene has been positive. It took me a minute to find my “tribe” of collaborators, especially when I transitioned from acting to writing and directing; however, what I love about the local film community is the willingness to share information. Through social media groups and film events, the Chicago film scene is nurturing. People are eager to collaborate. Yes, everyone faces challenges with funding and equipment, but there is a genuine camaraderie and love for film and making films that pierce through social-economic divides, union or non-union status, and experience levels. I enjoy connecting with Chicago’s independent and commercial filmmakers.
What are you looking forward to next?
Ellzey: I look forward to screening Cottage Grove at festivals that we have submitted to local, regional, and national. In May, we screened at the Premiere Film Festival at the Music Box Theater. We won three awards (Achievement in Short Film Writing, Voice & Vision Award, and Audience Choice Award). I cannot wait to hear and engage with audiences’ reactions to the story. Beyond Cottage Grove, I am in post-production for an experimental film and producing a narrative short in the fall called Shoot Your Shot. Also, I am developing my first microbudget feature film. I am optimistic and eager to tackle the challenges of these and future projects.
Reel Chicago also had the opportunity to sit down with actor, Patrick Agada, to learn more about the process and how he embodied the role of Emmanuel, the protagonist of the film.
What was your first impression of the script when you read it?
Agada: I loved how quiet the script was. There was so much happening between the lines. One of the reasons I think George is such a talented artist is the way he captures moods. The characters never needed to explain how they were feeling but it’s so easy to pick up on.
Describe the process of getting into character
Agada: Lots of Music! Before we started filming, George sent me some music which led me to just create a playlist for Emmanuel. (Give Mammal Hands a listen). Writing also helps. Just keeping a journal and writing as my character gives me a better understanding of who they are.
Were there any qualities about Emmanuel that resonated with you personally?
Agada: Absolutely! Emmanuel lives in his head, which is something I’m guilty of. I’m not as guarded as he is, but we share some people pleasing qualities that we both need therapy to work on! It’s always interesting playing characters that share personality traits with you because you end up not only interrogating who the character is, but yourself as well.
What was it like working with George and the crew?
Agada: One of the most comfortable sets I’ve worked on. The amount of positivity and support from George and the crew made the process so easy. George is an actor’s director that knows how to give space for creativity. Right before I needed to film a highly emotional monologue, he just told me to walk around. Then he started playing some music from the playlist we had for Emmanuel. Things like that just show how in tune he is with what actors need. This film is gorgeous and that’s thanks to the crew we had. Everyone was so on top of their job and willing to do anything to help make this film. Seeing the crew work so hard just made me want to do my job even better.
What do you hope the audience gains from watching this film?
Agada: Empathy and grace for the people we have in our lives. Especially now as the world seems to be collectively going through it… just calls for us to be aware. Also tell people how important they are to you. It goes a long way.
What’s next for you? Any upcoming projects?
Agada: I’m part of a theater ensemble in Santa Fe called Exodus. We perform five immersive shows here in New Mexico but will be going on tour this year! Look us up on Instagram.
How do you like working in the Chicago film scene?
Agada: I love it. Chicago has some of the hardest working artists I know. There is a level of camaraderie and willingness to get things done that is unique to the city.
Credits
Written & directed by George Ellzey Jr.
Starring: Patrick Agada, Sean Blake, R.J.W. Mays, Danyelle Monson, Shawn Roundtree Jr., Isaiah Sewell, Omig Flogo, T. J. Harris, Huy Nguyen, Tanner Monson & Achilles Morris
Executive Producers: Eric Campbell, Imani Davis, Brian & Erika Sewell, and Jordan Sheilds
Producers: Kat Blade, TJ Harris, Keiph Oliver, Jordan Rivers, and Cara Winter
Cinematography: Gary Treux Walker II
Editor: Jack Bexell
1st Assistant Director: Zeke Walker Raige
2nd Assistant Director: Amanda Mutai
Casting Director: O’Connor Casting Company LLC.
1st Assistant Camera: Jean Ho
2nd Assistant Camera: Mireillee Lamourt
Gaffer: Karson Kane
Key Grip: Eric Heyer-Fogelberg
Swig G&E: Eli Espinoza & Jon Glienke
Sound Mixing & Post Production Services: Noisefloor LTD.
Hair & Make-up: Danis Kelly & Raivyn Noelle Jenkins
Production Designer: Harper Betchel
Colorist: C. Ryan Stemple
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