Actor, Producer, Director, and Writer Tanner Beard of Silver Sail Entertainment and Mammoth Film Festival: Five Things I Wish Somebody Told Me When I First Started
…Find your niche. If you start comparing yourself to anybody else, it’s going to be really hard to find what makes you you. I had to learn a long time ago that I’m not going to be playing the handsome doctor on Grey’s Anatomy. I’m going to be playing the guy that drove the truck to get there. But once you find your niche, once you find what fits your mold… not every actor can do every role. But when you hone in on what you are, then you can really make that dynamite. You know what I mean? Don’t try to be something you’re not. Don’t compare yourself to anybody else. It’s okay to be influenced by them, but man, know yourself. Then you can really fly…
I had the pleasure of talking with Tanner Beard. Tanner, an Emmy-nominated actor, producer, director, and writer, has steadily built a multifaceted career in the entertainment industry, spanning film, television, and media production. As the CEO of Silver Sail Entertainment and Co-Founder of the Mammoth Film Festival, Beard’s work has touched multiple genres, from Westerns to comedies, and his influence continues to grow both in front of and behind the camera.
Born on in Big Spring, Texas, Beard was raised in the small town of Snyder. He comes from a diverse background, with Irish, Scottish, Norwegian, English, French, and Native American (Cherokee and Choctaw) heritage, mainly through his mother’s side. Beard’s early interest in film was sparked at a young age when he began making home movies with his family’s VHS camera. His love for storytelling and filmmaking deepened at age 16, when he had the opportunity to work on the set of Grand Champion, a film featuring stars like Julia Roberts and George Strait. This experience left a lasting impression and led him to pursue a career in the film industry.
Beard moved to Los Angeles after high school to study at the New York Film Academy. Not long after, he launched his career by producing, writing, directing, and starring in the comedy series Valley Peaks, which ran for two seasons. This project marked the beginning of his creative journey, setting a tone of hands-on involvement in every aspect of production.
Throughout his career, Beard has balanced his roles as an actor, director, and producer. As a director, he showcased his passion for Westerns with The Legend of Hell’s Gate: An American Conspiracy (2011), a feature film he wrote, produced, and starred in, alongside a cast that included Kevin Alejandro, Summer Glau, and Henry Thomas. His deep appreciation for the Western genre led him to Spain, where he co-directed 6 Bullets to Hell, a tribute to the spaghetti Westerns of the 1960s and 1970s, filmed on the same sets used by Sergio Leone and Clint Eastwood. The film’s authenticity was amplified by the inclusion of music by Ennio Morricone, and it earned recognition for its dedication to the classic Western style.
As an actor, Beard has appeared in a variety of films and television shows. Notable early roles include The Letter (2012), starring alongside Winona Ryder and James Franco, as well as appearances in From Dusk Till Dawn: The Series, We Summon the Darkness, and the independent hits Sylvio and Barracuda. Beard’s screen presence has garnered attention, with his performances often praised for their intensity and versatility.
However, it is perhaps as a producer that Beard has made the most significant mark. Under the banner of Silver Sail Entertainment, which he founded during the 2008 writers’ strike, Beard has produced numerous projects, including Hellion (2014), a critically acclaimed film starring Aaron Paul and Juliette Lewis. His partnership with renowned filmmaker Terrence Malick resulted in three major productions, including Voyage of Time (2016), narrated by Brad Pitt, further cementing his role as a prominent force in independent cinema.
Silver Sail Entertainment has produced a wide array of media, from short films and music videos to web series and feature-length films, showcasing Beard’s ability to adapt to different forms of storytelling. His collaborations with top-tier talent, including Christian Bale, Ryan Gosling, Natalie Portman, and Michael Fassbender, have broadened his industry connections and deepened his understanding of filmmaking on both commercial and artistic levels.
Beard’s entrepreneurial spirit extends beyond production. In 2018, he co-founded the Mammoth Film Festival, an emerging platform for independent filmmakers held in the mountain town of Mammoth Lakes, California. The festival has quickly gained recognition, highlighting fresh talent and diverse voices in filmmaking. With Beard’s leadership, Mammoth has become known as a filmmaker-friendly festival that emphasizes community and collaboration, a reflection of Beard’s own approach to the industry.
His involvement in major Hollywood productions, such as serving as an associate producer on Kevin Costner’s upcoming Horizon: An American Saga, continues to elevate Beard’s profile. The ambitious project, an epic Western saga, aligns with his long-standing love for the genre and is set to further solidify his place in the industry.
Beard credits his West Texas roots for shaping his work ethic and creative vision. He frequently collaborates with his cousin Russell Quinn, reflecting his belief in the importance of family and community in his professional life. This familial connection, along with his personal experiences, is a recurring theme in his work, particularly in projects like Blood Behind Us, a film that has been years in the making.
Beard’s ability to navigate multiple roles — actor, director, producer — has made him a dynamic and versatile figure in the entertainment world. His passion for storytelling, especially within the Western genre, combined with his commitment to fostering new talent through platforms like the Mammoth Film Festival, ensures that Tanner Beard remains a vital presence in both Hollywood and independent filmmaking circles.
Yitzi: It’s an honor to meet you. Before we dive in deep, our readers would love to learn about your personal origin story. Can you share the story of your childhood and how you grew up?
Tanner: Yeah, man. Well, I’m a proud West Texan. I grew up in a little town called Snyder, about 80 miles east of Midland and Odessa, or 80 miles south of Lubbock if you’re a Texas Tech fan. We kind of call it the middle of nowhere, but it was a lovely place to grow up. I got started in the movie business in two ways.
My parents had this old VHS camera, and I dug it out of the closet when I was in fourth grade. I was mesmerized by it. By ’94, their ’88 camera was already obsolete to them, but I got to play with it, and it became my favorite toy. I quickly learned how to push record and stop, turn the camera, and repeat. But you only got one take. I started making little movies that way.
Then, when I was a bit older — I’d just turned 16 — that summer, a movie came to my hometown, which is still pretty astonishing to me. It had Julia Roberts in it, Bruce Willis, Natalie Maines from the Dixie Chicks, George Strait, a young Emma Roberts, Joey Lauren Adams, and a lot of Texas cowboys and country singers. It was called Grand Champion, directed by Barry Tubb, who played Wolfman in Top Gun and is kind of a Snyder, Texas legend.
He knew my dad from high school and gave me a job on the movie, which really changed my life. I still credit Mr. Tubb for letting me go to film school before I even went to film school. But when I went back to high school that year, people would ask, “What’d you do this summer?” And I’d say, “I drove Julia Roberts around.” They’d be like, “Sure you did.” And I’d go, “No, seriously!” In our little hometown, they found it hard to believe.
But yeah, that was my start in the movie business. Really fortunate and lucky — luck has a lot to do with this business. Luckily, it came to me when I was 16. I caught the bug and moved out to L.A. when I was 18.
Yitzi: You just shared an amazing story. Maybe it’s hard to top that, but can you share the second most interesting story that’s happened to you since you began your professional career?
Tanner: Well, when I moved out to L.A., I crossed paths with another West Texas legend, a phenomenal actor named Powers Boothe. If you look him up, you’ll see all the great work he did. He played Curly Bill Brocious in Tombstone, which is one of my favorite movies of all time. He was from Snyder, Texas, too, but I didn’t know him growing up.
As fate would have it, I ended up connecting with him through his daughter, Paris. We did a play together, and when I found out her dad was Powers Boothe, I was blown away. Snyder, Texas is such a small town, and for two people from there to have these careers in Hollywood was wild.
Powers kind of took me under his wing early on, and I got to learn so much from him. He was an Emmy winner, from my hometown — such a surreal thing. Looking back, the fact that Barry Tubb, from Snyder, helped me before I moved out to L.A., and then when I got here, Powers Boothe did the same, it’s pretty special.
Since then, I’ve been lucky enough to work with incredible people like Terrence Malick, Suzanne Weiner, Sarah Green — some truly amazing filmmakers and producers. When I look back on it, especially now that I’m 40, it’s kind of crazy to think I’ve had a 20-year career already. I’ve hit some amazing milestones and worked with people that anyone would admire, not just me. It’s been pretty cool.
Sorry for the long answers today — you’re only getting long-winded ones from me!
Yitzi: It’s been said that sometimes our mistakes can be our greatest teachers. Do you have a story about a humorous mistake you made when you were first starting out and the lesson you learned from it?
Tanner: Yeah, of course. Don’t we all? I actually have a really good one — not so much a mistake, but more of a failure. Failures are our greatest teachers. You could call them mistakes, depending on the situation. This one’s about an audition for a role I didn’t get. It’s kind of an acting story.
There was this worldwide casting call for actors who were 6’5″ and taller. I’m 6’6″, but I tell people I’m 6’3″ because it’s almost too tall for Hollywood. Anyway, a couple of people reached out to me and asked if I’d want to audition for this serial killer role. I was like, “Wow, that’s amazing!” And it turned out to be for David Fincher’s Mindhunter, the role of Edmund Kemper.
I got the material — it was like 16 pages long, and I had a lot of dialogue, basically a 15-page monologue. It was incredible material, and I dove right in. For four months, I started to really become this character. Once I realized it was Edmund Kemper, I got pretty far in the process. It went from just sending in a tape to actually having a one-on-one with David Fincher over Skype. It was surreal.
At one point, the casting director told me, “You’re my front-runner for this role. I love you for it, but we’re having a hard time casting you.” I asked, “Why’s that?” And she said, “Well, you don’t have representation. We don’t know who you are. You kind of came out of nowhere. For a role like this, it’s like… if you were going to have brain surgery, would you want the doctor who went to MIT or the one who learned in a barn and is really good at it?” And I was like, “I’d probably go with the one who went to MIT.” And she said, “That’s how we feel.”
It hit me hard. I had always had this rebellious attitude of, “I don’t need an agent or manager. I’ll do everything on my own.” But that experience taught me that this business relies on collaboration and relationships. It’s not just about talent; you have to work with others, communicate, and build connections.
It was a tough pill to swallow, getting that close on my own but not having everything I needed to seal the deal. It was a great learning experience, though. It made me rethink what I thought I knew about the industry and approach things with a better, more positive energy. Instead of feeling like the industry owed me something, I learned that I needed to be more open to the collaborative nature of the business.
That failure was painful, no doubt, but it was also really impactful for me. It helped me grow and understand that while talent is important, so is having the right people around you and being willing to learn from every experience.
Yitzi: It’s a great story. Who got the role instead of you?
Tanner: You know, a great actor. I can’t think of his name off the top of my head, but if you watch Mindhunter, he plays Edmund Kemper, and he did an incredible job. Honestly, the role was written so well that even Elmer Fudd could’ve played it, and it still would’ve been amazing. But this guy nailed it, and I think he was even nominated for an Emmy. So, big congrats to him. We all knew that role was going to be coveted — it’s such a special character, a serial killer, so you really have to go deep. But for an actor, it’s like a playground.
Yitzi: You have so much impressive work, Tanner. Can you share with our readers the projects you’re working on now and what you hope to be working on in the future?
Tanner: Yeah, well, thank you for that. I really appreciate it. It’s not always easy — things have been tough the last few years — but I’m very excited to be a small part of Horizon: An American Saga, the project Kevin Costner has poured his heart into. It’s his vision, and everyone involved will tell you he’s created something truly special. Whether or not you’re into the Western genre, or agree with his approach, you can’t deny how amazing it is.
I don’t think people even realize how epic this is yet because he’s not done with it. It’s a four-part series, and we’re only halfway through. The audience has only seen the first one so far, but it’s a phenomenal project. I got to see the second part at the Venice Film Festival last week, and even I was blown away. I can’t wait for all four parts to be released so people can watch them at their own pace.
If you’re familiar with Into the West, Lonesome Dove, or even the old series Centennial, Horizon is in that same category — these giant Western sagas that are just magnificent. And honestly, I don’t know if we’ll see many more like this ever again. The scale is huge, and they’re so difficult to make. So, people need to go see it in theaters if they can. The second part is doing well on demand, and it had the best theatrical run it could, considering the times. I think Covid has really changed how people feel about going to the theater, which is sad. But thanks to streaming, at least the film is still reaching audiences. Keep Horizon on your radar — it’s not done yet, and it’s truly magnificent.
I also have five other movies in post-production. One is Flux, directed by Brendan Gabriel Murphy. He’s a fantastic, visionary director, and Flux is very much his story. It’s due out in January or February 2025, and Forge has picked it up for distribution, which is exciting.
Another project I’ve been working on for eight years is called Blood Behind Us. It’s pretty special to me because it’s been such a long journey. We’re finally wrapping it up, and it’s wild to see the actors, especially the kids, age over the course of the film. The audience will actually get to see them grow up on screen, which is something you don’t see often. It’s kind of like Boyhood, but with its own twist.
I’m also revisiting the first movie I ever made, The Legend of Hell’s Gate. I’ve taken it back, and I’m doing a director’s cut that we’re renaming Once Upon a Time in Texas. It’s a completely revamped version that no one’s ever seen, even though it was shot 15 years ago. What’s crazy is that we shot it in 4K before that technology even really existed. It was one of the first Westerns shot on a Red camera, and the footage has been sitting in a vault all these years. When we looked at it, we realized it was still in 4K, so now we’re finally giving it the release it deserves.
On the comedic side, I’ve been working with some really funny guys — Cooper Tomlinson and Curry Barker. They’re doing great work on Instagram (@thatsabadidea), making hilarious skits. We just collaborated on a project directed by Chris Reinecker, and my production company, Silver Cell Entertainment, came in to produce it. That one’s going to be a lot of fun, so keep an eye out for it toward the end of the year.
I’ll stop there — that’s plenty to talk about!
Yitzi: So your first major project, Valley Peaks — it says you produced, wrote, directed, and starred in it. How did that experience of wearing all those hats influence your development as a filmmaker and an actor?
Tanner: Oh, man, Valley Peaks, that was a web series we did way back in the day. We were so young when we made that. It was during the first writer’s strike in 2008. At that point, I had been in L.A. for a few years, and it was the first time we really felt the impact of the industry completely shutting down. That’s when web series were just starting to hit the scene, which feels like a million years ago now.
We were a bunch of film school friends and neighbors, all actors living right outside the gates of Warner Brothers in Toluca Lake. Honestly, you can probably spot Warner Brothers in half the shots of Valley Peaks. During the strike, we weren’t working, and we definitely weren’t going to be working anytime soon. We were so low on the totem pole, just starting out in L.A., so we thought, “Why not do this ourselves?”
So, we grabbed our cameras, chipped in every week, and just started creating. We took turns — “You hold the camera, I’ll do this, then I’ll hold the camera, and you do that.” It was very collaborative, and we ended up making a pretty fun show. That whole process really sharpened our skills and showed us what we were capable of. It gave us this strong “do it yourself” mentality, which I still carry with me today.
It was kind of like, “If Hollywood doesn’t need us, we don’t need it. We can do it ourselves.” There were so many outlets popping up, especially with the internet. We really dove into that space. And remember, this was when YouTube was still new — there was no Instagram back then. It felt like we were pioneers, creating our own content before it became a mainstream thing. We were doing stuff like Vine before Vine even existed.
Being part of that early DIY movement was really fun, and it was a great learning experience. But yeah, Valley Peaks feels like a million years ago now.
Yitzi: It seems like Western films hold a special place in your heart. What draws you to the Western genre, and why do you think it’s still relevant to modern audiences?
Tanner: Well, it’s just part of American history, you know? I think it’s similar to why the Brits love making films about medieval times or the Victorian era — it’s their history. For us, the Western is deeply tied to our history, and we can’t escape it. In fact, it’s only gotten richer over time. And yeah, you’re right, I do love the Western genre.
The first movie I ever made was a Western, and it was kind of a love letter to Texas, packed with Texas history. Even after all these years, that movie has stayed with me. It’s unfinished business. That’s why I’m bringing back the director’s cut, Once Upon a Time in Texas. Now that I have a better understanding of storytelling, I think it’ll resonate more with audiences.
I also got to shoot a spaghetti Western in Spain, where they filmed all the old Clint Eastwood movies like Once Upon a Time in the West and the original Django. Shooting there was incredible — there’s so much history in those locations. And of course, being a producer on Horizon is a dream come true. I really hope to keep making Westerns as long as I can.
That said, it’s getting harder to create something new in the genre. You have to think, “What makes this Western different from all the others?” Aside from horror and sci-fi, Westerns might be the genre with the most films out there, so finding something fresh is tough. But if you’re a good storyteller, you can still find those unique angles, and I think audiences are always hungry for a good story, no matter the genre.
I’ve heard you have to make five Westerns to really be considered a Western filmmaker, so I’ve got at least two more to go!
Yitzi: So you’ve been involved with Westerns, thrillers, and comedies. Is there a genre you haven’t explored yet that you’d like to tackle in the future?
Tanner: Well, we’ve been playing around with sci-fi a bit. I’ve also acted in some horror films, but I’ve never really fully immersed myself in that genre. We did We Summon the Darkness, which was a lot of fun. It starred Alexandra Daddario and Johnny Knoxville, and it’s definitely worth checking out.
I’ve got a werewolf movie called A Long Day in Lone Pine coming down the pipeline, but it’s on the back burner for now while we focus on other projects. There are a lot of irons in the fire, and you never know which one will heat up first and get made.
But yeah, I’m a fan of all genres. Wouldn’t it be fun to do them all? I’ve also worked on a lot of documentary films, and there’s really nothing I don’t enjoy. I just love movies — probably a little too much!
Yitzi: Have you ever done any historical films?
Tanner: I haven’t done a big period piece, but I was involved with a really great script early on about the St. Patrick’s Battalion during the Texas War. It was about a group of Irish soldiers who sided with the Mexicans against the Texans because of their shared cultural heritage. It’s a fascinating story about this group of Irish people who essentially revolted. That’s probably the closest I’ve come to working on a historical film.
But, like with many projects, it didn’t get greenlit. That’s the thing about movies — there are so many in the works, but only a few actually get made. It’s like having a kid, you know? Only one little guy makes it, and that’s what makes each movie so special. It’s a long shot, but when it happens, it’s really something to cherish.
Yitzi: So let’s pull back to our fascinating discussion. You’ve produced projects with so many big names and amazing things. I know this is like choosing your favorite child, but is there a particular project you’re most proud of?
Tanner: I do have one, but it’s probably not the one you’d expect. The project I’m most proud of is this movie called Six Bullets to Hell. Not because it was a blockbuster, but because of the circumstances surrounding it. It was kind of dead on arrival, but we brought it back to life.
It was me, my cousin Russell Quinn — who’s also an actor — and our good friend Ken Lucky. We were these three Americans in Spain on a set where five different languages were being spoken. It was like a mini United Nations. Our DP was from Belgium, half the cast was French, everyone on set was speaking Spanish, and we even had an Austrian sound guy. It was a crazy mix of people from all over the place. The whole experience felt like a throwback to the old spaghetti Westerns of the ‘60s.
We shot the entire movie M.O.S. (without sound), just like they did back then. The sets were from that era too. It was a magical experience. There weren’t a lot of rules, and we, as the Americans, kind of felt like if we didn’t hold it together, the whole movie would fall apart. That’s not an arrogant statement, but it was just the reality. Everyone was looking to us to set the tone, and if we showed up ready to work, the whole crew followed.
It was a grind, though. We ran into every problem you could imagine — like Jaws level issues. We lost half the footage at one point. All the worst things that can happen on set, they happened. But then, miraculously, we found half the missing footage under a bed on set! The joy of that moment was unreal. It was one of those situations where this movie should have never come together, but we didn’t give up.
In the end, we made something out of nothing. And while the movie is this grindhouse, pulpy Western, it has developed a small following. I’ll get messages every now and then from people who totally get what we were going for, who appreciate the tonality and effort we put in. It’s really cool to see that people have grown to love it.
On top of that, any project I get to do with my family is always special. We just finished a bull riding movie called Daisy, set in Texas, and most of my family got to be in it. The same goes for Blood Behind Us — we’ve been working on that for eight years, and a lot of friends and family have been involved in that one too.
So yeah, it’s hard to pick just one. Every project has its own special place in your heart for different reasons. It’s impossible to define just one favorite.
Yitzi: This is our signature question. You’ve been blessed with a lot of success now. Looking back to when you started, can you share five things that you know now that you wish somebody told you when you first started?
Tanner:
Oh, five. Okay. I could probably list 20.
- Where do you start? Take care of yourself — that’s one that, as you get older, you realize how important that is.
- Some advice I’ve followed, you know what I mean? I’ve had people tell me early on, “Surround yourself with like-minded individuals and people that are better than you.” And I feel like I did that. I have such an incredible circle of friends, and all of them can do something I can’t. You know what I mean? Why do you admire somebody, right?
- I think nobody really ever said this, but not listening to everybody’s advice and taking your own would definitely be a strong third. I think, inherently, I just egotistically did that.
- And also, doing as much as you can. Don’t be afraid to do a job you don’t want to do. Go and grip on somebody else’s movie. Then you will always have an appreciation for what the grips do on set. Go help light somebody else’s movie, or be a fly on the wall. Go PA. Do all this stuff really early on because you will always understand the importance of every job on a movie.When you have a respect level like that on set, everybody will respect you because you respect them. That’s how a good set should be run. You know what I mean? I’ve done every single job on a movie at some point in my life. So, even if you go tell the craft service, “Hey, thanks for bringing these extra treats today. It means a lot to us for morale.” There’s no little job on a movie set, even PAs.
- I think the fifth and most important one is… I don’t know, find your niche. If you start comparing yourself to anybody else, it’s going to be really hard to find what makes you you. I had to learn a long time ago that I’m not going to be playing the handsome doctor on Grey’s Anatomy. I’m going to be playing the guy that drove the truck to get there. But once you find your niche, once you find what fits your mold… not every actor can do every role. But when you hone in on what you are, then you can really make that dynamite. You know what I mean? Don’t try to be something you’re not. Don’t compare yourself to anybody else. It’s okay to be influenced by them, but man, know yourself. Then you can really fly.
Yitzi: This is our final question. So Tanner, because of your great work and the platform that you’ve built, you’re a person of enormous influence. If you could spread an idea or inspire a movement that would bring the most good to the most people, what would that be?
Tanner: Interesting question. I guess it would just have to be about creating a singular voice in everybody. Everyone being on the same page, with the same storyline, where there’s no agenda. It doesn’t matter what shape, size, orientation — nothing else matters except that singular voice of what the story or the art piece is. Then, everybody sings the same song, comes together the same way, and works towards the same goal. That would be the most ideal situation and one you’d hope to create.
That way, everyone is there for the same cause, standing shoulder to shoulder. You know what I mean? We have a film festival called Mammoth Film Festival, where we try to celebrate that as our initiative — by not having an agenda. Making movies is hard, and if you’ve made one, come with us. I don’t care what you are, or how hard it was to make it. We’re all going to celebrate it here, and we all stand shoulder to shoulder. Nobody’s different than anybody else. If you’re a female director, a male director, or even a cat or a dog, I don’t care. You’re just a filmmaker to us, and that’s what we try to live by on every set and especially with what we do at our festival.
Yitzi: Awesome. How can our readers continue to follow your work? How can they support your work in any way? How do they watch your movies and buy tickets to watch your movies?
Tanner: Yeah, well, I appreciate that. Shameless self-promotion — just my Instagram, @TannerBeard, and definitely follow @MammothFilmFestival for those filmmakers out there. We have pretty stiff competition, and we really promote your film. Your movie comes to us, and we try to take it to the next level for you. We take our competition very seriously over there. So, Mammoth Film Festival on Instagram is a big one, and my production company, Silver Sail Entertainment — S-A-I-L. And check out Horizon. Don’t forget that one. It’s a good one.I promise you’ll enjoy it. And if you get a chance, man, come out to the Mammoth Film Festival. It’s February 20th, 2025 in Mammoth Lakes, California. Bring your snowboard and your skis out there.
Yitzi: It’s really an honor to meet you. I hope we do this again next year. Wish you continued success and blessings, and I’m sure we’ll all be hearing your name more often in the future.
Tanner: Yeah.
Actor, Producer, Director, and Writer Tanner Beard of Silver Sail Entertainment and Mammoth Film… was originally published in Authority Magazine on Medium, where people are continuing the conversation by highlighting and responding to this story.