Filmmaker Neil Berkeley Talks Making ‘Group Therapy,’ Capturing Unscripted Emotion With Comics and the Power of Empathy in Film
“There’s empathy there. And I think it gives viewers permission to talk about those kinds of things in their own lives too.”
We had the pleasure of talking with Neil Berkeley. Neil is an Emmy-nominated filmmaker whose career has traced a nonlinear path from graphic design to the world of documentary film. Raised in Oklahoma after his family relocated from Boston, Berkeley describes his upbringing as emblematic of a “classic Middle America, 80s childhood.” In his early twenties, he moved to California to pursue a career in the entertainment industry, ultimately finding his niche in documentary filmmaking after an initial foray into television design.
Berkeley began his professional journey in Los Angeles, where he established himself in the world of television branding. He created logos for a range of well-known reality programs, including Real Housewives, Top Chef, and Project Runway. While working in that field, he began producing documentaries on the side — initially as a creative outlet. His first project was accepted into South by Southwest (SXSW), propelling him into a new professional direction. What began as a hobby gradually became his full-time career, as he moved away from design and embraced filmmaking.
His body of work is marked by an interest in creative and often deeply personal subjects. Berkeley’s debut feature, Beauty Is Embarrassing (2012), centers on artist Wayne White, known for his work on Pee-wee’s Playhouse. The film earned critical acclaim on the festival circuit, winning several awards and airing nationally on PBS’s Independent Lens. His second feature, Harmontown (2014), followed television writer and Community creator Dan Harmon on a national tour, exploring themes of self-doubt, audience connection, and personal reckoning. In 2017, Berkeley returned to Tribeca with Gilbert, a documentary about the life and private struggles of comedian Gilbert Gottfried. Distributed by Gravitas Ventures, the film later streamed exclusively on Hulu.
In addition to his directorial work, Berkeley served as the showrunner for Amazon’s Inside Jokes series in 2018 and has produced several other documentaries, including Power Trip and Maestra. His most recent project, Group Therapy, reunites him with Tribeca audiences and marks a continued focus on the intersection of comedy and emotional vulnerability.
Group Therapy, produced in collaboration with Hartbeat (Kevin Hart’s entertainment company), AXA and WPP, takes a distinctive approach to mental health by assembling a group of comedians for a candid, roundtable-style conversation. Hosted by Neil Patrick Harris, the film includes appearances by Mike Birbiglia, Nicole Byer, Gary Gulman, London Hughes, Tig Notaro, and Atsuko Okatsuka. Rather than relying on traditional narrative or observational documentary formats, Group Therapy captures real-time interactions, unscripted dialogue, and personal reflections, blending humor with emotional candor.
Berkeley has described the filming process as fast-paced and emotionally complex. Shot in a condensed timeframe, the production relied heavily on trust between director, crew, and participants. He recalls moments that ranged from uproarious to deeply introspective, such as a spontaneous and humorous misunderstanding between comedians Gary Gulman and Nicole Byer, which found its way into the final cut. For Berkeley, these moments exemplify the kind of honest, unrehearsed connection he aims to portray in his films.
While the documentary is structured around comedians, Berkeley is careful not to draw a direct line between humor and mental health issues. Instead, he notes that many comics are simply more comfortable being vulnerable in public settings. Some use the stage as a space to share personal stories without the fear of judgment, while others prefer more observational material. The connection, Berkeley suggests, lies not in how funny someone is, but in how willing they are to be honest. Audiences can now stream the documentary on Prime Video.
Beyond filmmaking, Berkeley is interested in using documentaries as tools for empathy. He sees storytelling as a means to bridge gaps between people who might otherwise misunderstand one another. That ethos underpins much of his recent work, particularly Group Therapy, which he hopes will encourage viewers to initiate their own conversations about mental health — whether with a friend, family member, or therapist.
In reflecting on the lessons he has learned across his career, Berkeley emphasizes the importance of working on stories that resonate personally. He advises aspiring filmmakers to trust their instincts, learn the full scope of production roles, and invest in technical fundamentals — especially sound quality, which he views as essential in documentary work. Most importantly, he stresses making films that one would actually want to watch, regardless of outside opinions.
Looking ahead, Berkeley has expressed interest in applying the Group Therapy format to other communities — athletes, musicians, business leaders — exploring how various high-pressure professions intersect with emotional well-being. He has also voiced an aspiration to make a documentary about Tiger Woods, calling him a dream subject.
As his filmography grows, Neil Berkeley continues to navigate the documentary landscape with a mix of humor, empathy, and curiosity, seeking to capture moments that are at once entertaining and emotionally resonant.
Yitzi: Neil, it’s a delight to meet you! Before we dive in deep, our readers would love to learn about your personal origin story. Can you share with us a bit about your childhood and how you grew up?
Neil: Sure, yeah. I grew up in Oklahoma, actually. My family’s from Boston, but we left there when I was really young. I was in Oklahoma until around 21, then I came out to California to try and make it in showbiz. (chuckles) But yeah, I had a very classic Middle America, 80s childhood.
Yitzi: What brought you specifically to this career as a successful filmmaker?
Neil: It wasn’t a straight path. I was in LA for a long time and eventually got into design for television. I started designing TV logos — like for Real Housewives, Top Chef, and Project Runway — and did that for quite a while. Then, while I was doing that, I started making documentaries on the side, kind of as a hobby. My first one ended up getting into South by Southwest, which led to my next one. Eventually, the design work fell to the wayside, and I became a full-time filmmaker.I faked it. I fake–fake–faked my way into it. (chuckles)
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 first started filmmaking and the lesson you learned from it?
Neil: Oh, yeah. Well, not so much a specific mistake, but a lesson I learned early on is that the pain you feel while making documentaries — because we’re basically tracking real life — is real. A lot of my films involve following someone and seeing what happens. And if you miss something, or if something doesn’t go right — like if a camera fails — there’s this really dark moment where you think the movie’s ruined and it’s never going to be good. Usually, though, something else happens to replace that, or you just finally accept that it’s not going to be a part of it, and you make up for it in some other way.
There’ve been so many times where I thought, “Oh no, the movie’s ruined because I didn’t get this one thing.” But they all came out fine, people liked them, and everything worked out. So yeah, it’s hard to pinpoint one exact thing, but the big lesson is: things usually aren’t as bad as they seem in the moment. Give it some time, and look for something else.
Yitzi: Beautiful. So please tell us more about Group Therapy and why you think we have to watch it?
Neil: You have to watch it because — (chuckles) — well, watch it if you want. No one has to. I wouldn’t tell anyone to do something they didn’t want to do.
But I will say, Group Therapy came together when I was brought in by Heartbeat, Kevin Hart’s company, to direct a project they were developing. Their partner, Axa, had come to them wanting to make a movie about comedians talking about mental health and how it shows up in their material. So they brought me on, and it was super exciting. Once we got going, we pulled together our group of comedians and Neil Patrick Harris. We shot it in a really short amount of time, edited it quickly too — which was both anxiety-inducing and exciting. But they surrounded me with incredibly talented people to get it done.
I think the reason to watch it is, first, these people are incredibly funny, very entertaining, and just wonderful humans who’ve been through experiences a lot of us can relate to. The difference is, they go on stage and talk about those experiences. They make jokes about them. And I think there’s something powerful about that — when you see someone talk about dark, difficult things and still manage to laugh about it, to survive it. There’s empathy there. And I think it gives viewers permission to talk about those kinds of things in their own lives too. So hopefully, people will watch it and come away with something that benefits them — not just laughs, but something deeper too.
Yitzi: Would you classify this as a comedy?
Neil: Oh, good, that’s a great question. It’s funny. It has its moments. Maybe it’s a… not a dramedy. I don’t know. It’s hard to even call it a documentary because it’s just people in a room talking. Is it a comedy? Yeah, it’s funny. That’s a good question, though.
Yitzi: I imagine being in a room with some of the world’s funniest people — funniest people on the planet — there must’ve been some really funny moments.
Neil: Oh yeah, for sure. Like I said, we filmed it over a very short amount of time, so it was both funny and emotional. It was really an emotional roller coaster. I know it’s super cliché to say, but it really was up and down — from “this is the funniest thing I’ve ever seen” to “this is the most deeply personal thing I’ve ever heard this person say.” So yeah, it was definitely fun. I will say that. It was a lot of fun to make this film. We had an incredible crew, great people working with us, great people in front of the camera. But yeah, emotionally, it was funny, but there were lots of other feelings too.
Yitzi: Are you able to share a particular anecdote about what it was like having all these great people together? Maybe an interaction or something that happened behind the scenes?
Neil: Hmm, a particular interaction… Well, we shot everything, so there’s really not much that’s not on camera. From the moment they walked in, we had cameras on them, all the way until they left. I think what stood out to me was just how much these people were willing to give. They showed up ready to go, ready to be filmed, ready to do whatever we needed to make a good movie.
There’s a moment in the film where Gary Gulman is talking to Nicole Byer, and they get confused about the name of the writer of this book. And it’s just a really beautiful, real interaction between two very funny people who are not on the same page at all. I find it so hilarious because we captured the moment — it’s all on camera. They thought it was funny, and I think it’s hilarious that they were just completely not having the same conversation for a few minutes. We ended up using it in the film. To me, that’s just a light, wonderful moment between two very sweet, funny people.
Yitzi: What are the lessons you think society can take from the motifs of the film?
Neil: Yeah, like I said, we talked a lot about the goals — like, why? Whenever you make a movie, you always ask, “Why does this exist?” And the “why” of this was to make something that people would connect with. Unlike a lot of documentaries where you watch it, enjoy it, and then move on to the next thing, with this one, we hoped people might watch it and say, “Okay, I can share these things too. I can talk about this stuff.” Because these comics did, and they’re just like me — human beings going through things like we all are. So maybe they’ll pick up the phone and call a friend or a relative, or even a therapist, and talk about what’s going on in their heads. I hope this gives people permission to share.
Yitzi: Okay, great. Perfect. So, have you found that there’s a connection — a commensurate or proportional relationship — between a comic’s humor, how funny they are, and the mental health challenges they’re dealing with? Because I know this has come up… Robin Williams, for example.
Neil: Yeah… yes and no. I think we’re all going through stuff, just like comedians. But I do think some comics are more open to being vulnerable, less ashamed, and more willing to talk about things. I’m not sure it has to do with how funny they are. I think some just have the ability to say what’s on their mind without worrying about what people think.
I mean, Jerry Seinfeld is a very funny comedian who doesn’t talk about many personal things. Then there are others who just want to get on stage and talk about what they’re going through — whether the audience laughs or not. That’s the key, I think. The difference is not worrying about whether you succeed or fail. That’s the difference between a really successful comedian and one who’s just okay.
Yitzi: Would you do a follow-up to this — a sequel? Would it be comedians talking about another subject, or would it focus on another field? Let’s say, doctors talking about mental health?
Neil: I think it’d be fun to do this with athletes, rock stars, business people. There are probably six or eight more groups of people who are also going through things, and talking to them could bring a whole different perspective on the experience.
Yitzi: I think that’s a brilliant idea. Yeah, I really hope you can do that. This is our signature question. You’ve been blessed with a lot of success, and I’m sure you’ve learned a lot from your experiences. Can you share five things that you’ve learned now that you wish you knew when you first started filmmaking?
Neil: Well, one big one is: work on stories you want to tell. I think when you get into showbiz, you have these dreams of making movies, and then the bills show up. So yeah, try to work on films that are about stories you actually care about.
Second, find a team of people you trust — and work with them every time.
Third, trust your gut. That’s a big one.
Fourth, learn what everyone does. I think a lot of directors get caught up in what’s in their heads, but understanding the roles that everyone plays is really important. Being a knowledgeable filmmaker is vital.
Okay, and fifth — get good sound. Especially in documentaries. That’s probably the advice I give most often to young filmmakers: make sure your project sounds good.
And if I had to add a bonus one, it would be this: don’t worry about what people think. Make a film that you’d actually want to watch. That’s probably the biggest lesson. At the end of the day, make the movie you’d want to spend an hour and a half watching. That usually works out.
Yitzi: This is our aspirational question. Because of the platform you’ve built and your great work, you’re a person of enormous influence. If you could put out an idea, spread an idea, or inspire a movement that would bring the most good to the most people, what would that be?
Neil: Oh jeez, that’s a big question. Yeah, I think — especially in this day and age — I’d say it’s about doing for each other what documentaries try to do: create empathy. And maybe sharing stories helps with that.
A lot of times now, people are so caught up in their own belief system or personal experience that they don’t try to understand what someone else is going through. So I think if we all just had a more open mind, if we really listened and weren’t so quick to judge, we might all be a little better off.
Yitzi: This is what we call our matchmaker question — and it works a lot of times. We’re very blessed that prominent leaders in entertainment read this column, and maybe we could connect you. Is there a person in the U.S. or the world you’d like to have lunch with or collaborate with? Because we could tag them on social media and maybe make it happen.
Neil: Oh, Tiger Woods. I’d love to make a doc on Tiger Woods. Yeah, let’s start there. Yeah, tag him. Maybe someone he knows reads this… or who knows, maybe he reads it himself. (Laughs)
Yitzi: Okay, amazing. Well Neil, it’s been so delightful to meet you. I wish you continued success. I can’t wait to watch this and the follow-ups. And I hope we can do this again next year.
Neil: Great. Thank you very much. Nice meeting you.
Yitzi: My pleasure.
Filmmaker Neil Berkeley Talks Making ‘Group Therapy,’ Capturing Unscripted Emotion With Comics and… was originally published in Authority Magazine on Medium, where people are continuing the conversation by highlighting and responding to this story.