Vol.
XLIII
Aug 31, 2025
[THE MAIN EVENT]
UpRising: On The Paper, you play Detrick Moore, an ad salesman trying his hand at journalism. Were you a fan of the show’s predecessor, The Office, and if so, how did that impact you taking on the role?
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Melvin Gregg: I was familiar with the show — I wasn't a super fan but I had done American Vandal, so I knew the mockumentary format very well. I knew the style of comedy was kind of grounded. A lot of the comedy lives in the awkwardness and authenticity. It didn't feel contrived or performative. It just feels like you're thrown in Middle America and these people are here, [but] they don't really want to be here. So I understood that, and that attracts me. I love that tone and those factors that come into playing the character.
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Originally conceived as a white-centered story, the indie romance Love, Brooklyn, found new life when the first-time director took charge. Here, she reflects on being flexible—and when she puts her foot down.
Writing and creating stories is rewriting, especially in an independent film. But in any film—not just because of financial restraints—it's hard to move a machine made up of many creative minds and moving parts. You always have to be able to pivot creatively. The way I navigate having to be flexible as a collaborator and a creative is to have a North Star and not compromise on those. That allows me to be open to other ideas and have it be thrilling rather than scary.