Connect with us

We Speak Actors

Actor Travis Lee Eller appears in ‘Elkhorn’, a new TV series about the young Roosevelt

Published

on

Travis Lee Eller is known for appearing in Westerns, but unlike other Hollywood actors he also supplies the costume department with authentic-looking outlaw hats! Originally from North Carolina and now based in LA, Travis started in entertainment as a TV stage manager and since 2012 has appeared in numerous films, many of them Westerns. He also has his own hat-making business, Ugly Outlaw Hats. He wrote and directed the short film ‘The Killer: A Fight in July’, which was nominated for Best Supporting Actor and Actress at the Wild Bunch Film Festival 2016. He also wrote and starred in the short film ‘Bad Men And The Devil’, for which he won a Best Actor award and the film won Best Western Short at the Genre Celebration Film Festival 2017. Now Travis is appearing in the TV series ‘Elkhorn’, about Theodore Roosevelt abandoning politics to become a cattleman in the lawless Dakota Badlands; it is available to watch on the INSP network and various streaming platforms from 11 April 2024. 

What was it like working on ‘Elkhorn’?

“It was amazing!”

“The entire cast and crew were a pleasure to work with.”

“It was great seeing it all come together, from the audition process to the sets being built and finally to that first moment you hear the director call: ‘Action!’. I loved every minute of it. The Western genre is something I’m extremely interested in and having this opportunity to work in this environment again and tell this particular story got me really excited, especially knowing there’s a true history behind it.” 

Can you tell us a bit about your role? 

“I play Joe Ferris, who became a dear friend to Teddy Roosevelt. He’s a shopkeeper in the Dakota Territory town of Medora. Joe’s a nice guy, he knows everyone and everything about the town, but at the same time he’s no pushover and is stern when he has to be. He loves his town and wants to see it thrive. He also acts as the town postmaster and bookkeeper for Roosevelt’s business affairs. Joe was an interesting role for me to take on. I was so used to playing a villain in Westerns, that when it was time to be the good guy I had a moment of thinking: ‘How am I going to do this?’ Then I realised how ridiculous that sounded for an actor to say, and I screwed my head on straight again and jumped in.” 

Who will enjoy this TV series? 

“I hope as many people as possible will tune in. If you’re a history buff, interested in Theodore Roosevelt, or a Westerns fan in general, then ‘Elkhorn’ will be right up your alley. It’s great because there’s so much literature on Teddy Roosevelt and his life as President and conservationist, but there’s not really too much out there to watch. I’ve never seen any show or film about this particular time of his life.”

“I hope viewers have the same interest and sense of discovery I had when learning about this part of his history.” 

What have been your favourite projects to date?

“I’ve had a few great projects I’ve been part of, including guest-starring roles on major network shows and lead roles in independent films, but I think some of my favourite roles were in smaller productions in my early pursuit of acting. It was all about the learning experience, and the knowledge I took away from each of those, be it technical or emotional. If I had to pick a film of mine that I really enjoyed doing, it would be the short Western ‘Only God Forgives’, which is available to watch on Amazon Prime.”

What are you up to next?

“Negotiations and auditions are happening, but other than that I’m continuing with my hobby, which is hat-making. I own a small business called Ugly Outlaw Hats, which allows me to stay busy with my hands. It’s also offered me an avenue into film and television, as I’ve made a few hats for various productions, including ‘Elkhorn’.”

To find out more about Travis, visit www.travisleeeller.com

Featured photo credit: Morgan Weistling

Continue Reading
Advertisement

We Speak Actors

Interview with Leonid Andronov, author of ‘First Draft Survival Guide’

Published

on

In an industry where the blank page can be the most daunting hurdle for aspiring screenwriters, Leonid Andronov offers a much-needed lifeline with his book ‘First Draft Survival Guide’. Drawing from his own experiences of struggle and self-doubt, Andronov provides writers with a roadmap to navigate the messiness of the first draft—offering practical advice, humor, and much-needed encouragement. In this interview, we dive into the inspiration behind the book, explore some of the challenges new writers face, and discuss how ‘First Draft Survival Guide’ stands apart from other screenwriting resources. Whether you’re a seasoned screenwriter or just starting out, Andronov’s candid insights are sure to inspire and motivate you through the tough stages of your creative journey.

What inspired you to write First Draft Survival Guide? Was there a specific moment when you realized this book needed to exist?

At the time, I was deep into the second part of a psychological thriller novel, and I’d been stuck for two years. Exhausted. Frustrated. On top of that, two of my scripts were under consideration, and with the holiday season approaching, I knew I wouldn’t hear back for at least a month. Waiting drives me crazy—I’m terrible at it. I needed something to keep me sane.

During one of my masterclasses, we discussed the idea of a workshop about writing a first draft. To distract myself, I started organizing my thoughts on the topic, just to stay busy. And then, almost out of nowhere, this book happened.

Photo credit: Kristina Pilskaya

I wouldn’t say I had a grand realization that the book was “needed.” It was more like a sudden creative explosion. I worked like a madman—15 to 16 hours a day—and by New Year’s Eve, the first draft was done.

What’s the biggest challenge writers face when starting their first draft, and how does your book help them overcome it?

Starting is easy. You’re full of energy, inspired by your idea, and eager to dive in. The real challenge comes when you hit the middle. That’s where enthusiasm fades, self-doubt creeps in, and suddenly, the finish line feels impossibly far away.

By the second act, most writers feel stuck—unsure of how to move forward, overwhelmed by everything that still needs to come together. Even if they have a rough ending in mind, actually getting there is another story.

That’s where my book comes in. It doesn’t promise to teach you how to write a brilliant script—that’s up to your talent. But it does guide you through each stage of the process, highlighting common pitfalls and giving you tools to stay organized, focused, and motivated.

My goal is simple: to help writers survive the hardest part of screenwriting—getting through that first draft—and come out the other side with something they can build on.

You’ve mentioned laughing at your own mistakes in the book. Can you share one of the funniest or most memorable lessons you learned as a screenwriter?

Oh, I’ve got a good one.

I once made the rookie mistake of showing an unfinished script to a producer friend—just days after confidently telling a masterclass, “Never show your first draft to anyone in the industry!” I even stressed that early drafts are for you and your beta readers only.

And what did I do? I did something even dumber—I showed him a half-finished script. I was stuck, I needed feedback, and since we were good friends, I felt safe.

The moment I started reading it out loud, I felt like I was falling into an abyss. He just sat there with a poker face, and the deeper I went, the more I wanted the earth to swallow me whole. Funny enough, days earlier, we had been discussing me directing the project.

Let’s just say… nobody talks about that project anymore. Not even me. Don’t ask—I might start crying.

Your book isn’t just about writing—it’s about what comes next. Why did you feel it was important to include that “what next” section?

Many new writers think, “Okay, I’ve just written a fantastic screenplay. Where should I send it?” But the harsh truth is, nobody is sitting around waiting for your script.

The numbers say it all—back in 2020, the WGA registered over 50,000 works, yet only 25 spec scripts were purchased. Do the math.

Does that mean you should give up? Absolutely not. But it does mean you need to understand the industry. Many writers today are shifting into producing because it’s one of the best ways to bring their scripts to life. Others stick to the traditional path, but even that requires more than just a great script—you need a full package: a logline, a synopsis, sometimes a treatment, and a pitch deck.

When I was starting out, nobody explained why I needed these materials or how to use them. That’s why I included this section in the book—to demystify the process and show writers how to navigate the business side of screenwriting.

What makes First Draft Survival Guide different from other screenwriting books?

I didn’t want to write another theory-heavy textbook. Most of the screenwriting books I read early on focused on how to write a great script, using examples from Hollywood blockbusters. That’s great—but let’s be real.

When you’re starting out, are you writing the next Inception? Or are you aiming for something achievable, like an indie film?

A great script is the result of multiple rewrites. But nobody really talks about the first draft—the messy, flawed, crucial first step. My goal was to write a book that feels like a conversation with a friend—someone who’s been there, who understands how daunting the first draft can be, and who’s here to help.

And maybe I’m the only one saying this, but: Writing should be fun.

Apparently, I’m not alone in that belief—when First Draft Survival Guide became the #1 Hot New Release and later the #1 Bestseller in the Play & Scriptwriting category on Amazon, it was clear that this kind of book was exactly what writers were looking for.

If you could sum up your approach to screenwriting in three words, what would they be?

If you’re asking about how I write:
System. Research. Writing.

I’m very structured. I spend a lot of time researching and organizing my thoughts before I even start writing. And then, when I do write, I go all in. If I’m not feeling it, I wait. But when the moment comes, I work fast—sometimes finishing a draft in just two or three days.

If you’re asking about what I write:
Underdog. Drama. Visuals.

I love underdog stories. I started as a dramatist, and that love of drama has never left me. And my writing is highly visual—people often say reading my scripts feels like watching a movie. To me, that’s the highest compliment.

What do you think is the most misunderstood part of screenwriting?

For people outside the industry, screenwriting is practically invisible—and, frankly, they don’t care. The most frustrating misconception? The idea that “anybody can write.”

Some people assume that being smart or successful in another field means they can whip out a screenplay if they feel like it. Well, they’ve clearly never tried.

Photo credit: Jose D. Rodriguez

There’s also this ridiculous notion in filmmaking circles that, when it comes to financing, a script is only worth the price of the paper it’s printed on. It’s absurd. Without a script, there’s no movie. Maybe that’s why we end up with so many garbage films.

Many writers struggle with procrastination and self-doubt. How does your book address these hurdles?

When you’re stuck, it’s easy to spiral into self-doubt. Writers are naturally self-critical, and that can be paralyzing. I’ve been there—I know how miserable it can feel.

In my book, I focus on tools to help writers relax, rekindle their inspiration, and even prevent those blocks from happening in the first place. One of the most interesting ideas I explore is the inner child—understanding how to communicate with it and why it’s crucial for creative work.

For writers unfamiliar with this concept, it can be a real game-changer.

What do you hope readers take away from First Draft Survival Guide—not just as writers, but as creatives?

Any creative process is still a process. It’s not easy, and sometimes it feels like torture.

My hope is that this book gives writers the tools and perspective to push through the hard parts—but also to find joy in the journey.

Fetured photo credit: Jose D. Rodriguez

Continue Reading

Trending