Tyrrell Shaffner & Meryl Branch-McTiernan: Five Things You Need to Create a Highly Successful Career as a Filmmaker
…For a long time, I wasn’t on a film set with a female director — besides myself — until I was around 30, and even then, it was someone I had hired at a production company. In the past, there was this whole “pick me” culture where being the only woman on set is seen as a lucky break, but it shouldn’t be that way. It should be about being kind to other women, and more broadly, making allies rather than adversaries. That’s how you find your tribe — by building partnerships with people who might otherwise be pitted against you. And I think it’s especially important for women to support other women. But that idea extends beyond gender. It’s about helping each other instead of competing with one another, and when we do that, we can achieve amazing things…
I had the pleasure of talking with Tyrrell Shaffner and Meryl Branch-McTiernan.
Tyrrell and Meryl are two first-time feature filmmakers making waves with their film, Katie’s Mom, a fresh take on the relationship comedy genre. Their directorial debut is inspired by The Graduate, offering a twist from the perspective of a “Mrs. Robinson” figure. The film stars Dina Meyer (Starship Troopers), Aaron Dominguez (Only Murders in the Building), and Julia Tolchin (Life & Beth). Set against a backdrop of blended holiday celebrations — dubbed “Chrismanukah” — the story delves into family dynamics, romance, and personal reinvention in Pasadena, California.
The inspiration for Katie’s Mom comes from a real-life experience in Branch-McTiernan’s life, where her ex-boyfriend had an affair with a recently divorced mother while dating her daughter. This deeply personal backstory, combined with the duo’s creative vision, shaped a film that seeks to explore complex relationships and the pursuit of passion — particularly through the lens of women’s stories that are often underrepresented in mainstream cinema. The film’s production journey was similarly shaped by a spirit of resilience and collaboration, marked by the support of a female angel investor after facing repeated rejection from male-dominated industry circles.
Shaffner and Branch-McTiernan’s collaboration began in Los Angeles nearly a decade ago, after both made their way to the city from very different backgrounds. Tyrrell Shaffner, originally from Nebraska, spent much of her childhood moving due to her father’s work as a technology executive. Her nomadic upbringing, which included stints in San Francisco, England, Virginia, and Seattle, eventually led her to settle in Los Angeles for film school at USC. Shaffner’s experiences as an outsider in various places helped shape her artistic vision, instilling a sense of empathy that she strives to incorporate into her work as a director. Despite the challenges of being a female filmmaker, particularly earlier in her career, she maintained her focus on directing and achieved a significant milestone by winning Best Debut Feature at the Female Eye Film Festival in Toronto.
Meryl Branch-McTiernan, meanwhile, grew up in Queens, New York, where her passion for storytelling emerged at an early age. She began writing in second grade and followed that interest through her studies at Syracuse University, where she focused on television, radio, and film. After initially planning to move to Los Angeles after college, she delayed her plans due to logistical challenges, eventually making the move in her 30s. Her path into the industry was not easy, as she struggled to gain access to opportunities despite positive feedback on her writing. Branch-McTiernan ultimately decided to circumvent the gatekeeping process by joining forces with Shaffner, leading to the creation of Katie’s Mom.
Their partnership represents a blend of creative and practical strengths, with Shaffner bringing her experience in production and a love of directing, and Branch-McTiernan offering her storytelling skills and personal narrative as a foundation for their projects. Together, they worked through the script for years, developing the story’s emotional core and humor, while ensuring a relatable portrayal of complex family relationships. Dina Meyer, who plays the central character, Nancy Rosenfeld, worked closely with the filmmakers to develop a character that audiences could root for despite her controversial actions. The result is a film that aims to subvert expectations, presenting a woman in her 50s who embarks on a journey of self-discovery and passion without sacrificing her entire world for it.
Their project also reflects a broader commentary on the film industry itself. Shaffner and Branch-McTiernan’s story of overcoming rejection to find their “yes” is a testament to their determination and belief in their vision. They emphasize the importance of finding the right team — people who share a commitment to the project beyond financial gain. For Shaffner, this meant leveraging her background in producing to create a space where she could direct a story that resonated with her values. Branch-McTiernan, on the other hand, used her experiences as a writer facing industry barriers as fuel to drive the project forward, turning a deeply personal story into a universal narrative about love, mistakes, and the pursuit of happiness.
As Tyrrell and Meryl continue to build their careers in the industry, they remain committed to telling stories that challenge norms and offer fresh perspectives on age-old themes, all while advocating for a more inclusive and supportive creative community.
Thank you, Meryl and Tyrrell. It’s an honor to meet both of you. Before we dive in deep, readers would love to learn about your personal origin stories. Tyrrell, can you share the story of your childhood and how you grew up?
Tyrrell: Sure. I was born in Nebraska, and shortly after that, because of my dad’s job as a technology executive, we moved around a lot. I lived in the San Francisco area, England — which was pretty amazing as a child — Virginia, and Seattle, before settling down in Los Angeles for film school. I think having to move so much and being an outsider when you arrive gave me a lot of empathy for outsiders. That’s something I focus on in my work. It also helped me develop a wicked sense of humor to survive my adolescence while moving around. I try to put those experiences into my work and honor my inner child as much as possible when I’m directing.
How about you, Meryl?
Meryl: Okay, so, I was born in Queens, New York City. I started writing in second grade, when I had to do a story and turned in a seven-page story. Ever since then, I was sort of on that path. I went to Syracuse for Television, Radio, and Film, and I was planning to move to L.A. right after college, but at that point, there was no GPS, and I’m really bad at directions, so I stayed in New York until I was 30. Then I got a car with GPS and decided to move to L.A., which is where I met Tyrrell and where we started working on the script. So yeah, it finally all came together.
Can you share with us how you broke into the filmmaking world? You know, it’s not easy. How did it start for you? How did you ease into it?
Tyrrell: Sure. Well, I was very into painting as a kid. That was my initial creative spark. I was also into writing — I was the editor-in-chief of my high school newspaper. I went to USC because they had an art school, a journalism school, and a film school. I had never made films before, but it sounded like an interesting fusion of my interests. I took one film class at USC, and it was like, “Oh my God, you can do this.” And that was it. I got very obsessed with transferring into the USC Film School, which wasn’t easy. But I managed to transfer in, and I ended up doing a thesis film there called “Different” that did really well on the festival circuit. It cemented my desire to be a director. That was in 2004, and the short did so well that I promised myself that this is what I would pursue, no matter how hard it was.
It’s been interesting — I worked in the film industry for 15 years before teaming up with Meryl for this project. I sort of got pushed into producing, which isn’t where my heart truly lies. I love directing, but being a female director is challenging, and it was even harder 20 years ago. Breaking down those doors over the last two decades has been a journey. I read somewhere that the average age of a female director is around 40 years old. I was 41 when I directed my first feature film, so it really is a long road. We recently played at the Female Eye Film Festival in Toronto, where we won Best Debut Feature. It was a full-circle moment for me, since my thesis film “Different” had been nominated for Best Short there 19 years ago. So, I’m glad I kept my promise to my younger self.
How about you, Meryl? How did you ease into filmmaking?
Meryl: Yeah, it’s been very difficult. When I was in New York before moving out to L.A., I wrote a novel — it required less equipment and technical skills. Then, when I moved to L.A., I started submitting TV scripts to contests. I placed in a few, but I had initially planned to go the assistant route, like being a PA or something. But, A, I’m not really a great assistant, and B, people don’t really want a 30-year-old assistant. So, I was hitting a wall. When I met Tyrrell, I told her, “I have scripts, people like them, but I can’t get in the room.” That’s when we decided, “Alright, why don’t we just make it ourselves, forget the gatekeepers, and find a way to bypass all that.”
Tyrrell: And when I met Meryl, just to add to that, I had been producing for a long time, but I was ready to put my energy into something I wanted to direct — something that was really producible, with a reasonable budget, something we could do ourselves. I could use my producing knowledge to help make it happen. And when I met Meryl, she had this great idea for a script. It was a love triangle between three people that primarily takes place in a house. When she pitched me the idea of a modern-day “The Graduate,” based on a true story of her ex-boyfriend, I thought, “Oh my God, this is a great story.” So, we decided to do it. We became creative partners first. We didn’t know each other that well at first — we’ve been creative partners for nine years, but when we started, we had only known each other for a couple of weeks.
Meryl, can you share with us the most interesting story that has happened since you began your career? The most interesting story from your professional life.
Meryl: The most interesting story from my professional life? Well, one story I think is pretty crazy is how we got Aaron.
Before we started raising money, we had another actor attached to play the lead, Alex. He was a friend of a friend, and he was awesome. He even connected us to Dina, who ended up playing Nancy. But then he booked a play and couldn’t do the movie. We were about a month away from starting production — we’d already been hiring people — so we had to fill that role quickly.
First, we went to someone that a mentor of ours, Luke Greenfield, had worked with. We got this other guy to play the role, and we loved him. He was great, but on the day we were supposed to have our table read with all the actors, he had a health emergency and was going to be out for a few weeks. So we had to tell him, “We can’t wait, we need someone now.”
Then, one night, we were sitting out in Hollywood having drinks, and one of the people we had reached out to was Aaron Dominguez, just to see if he might be interested. Tyrrell has this super recognizer talent, and Aaron happened to be walking by the bar. She started calling out, “Aaron! Aaron!” He stopped, and we actually chased him down the street to tell him about the movie. He ended up being interested, and it all worked out. It was just such a weird, miraculous moment.
It’s been said that sometimes, our mistakes can be our greatest teachers. Do you have a story of a humorous mistake you made when you were first starting and the lesson you learned from it?
Tyrrell: Oh, that one’s tough. Well, when I first graduated from film school, I started out as a P.A., and I actually lied about knowing how to use a walkie-talkie to get one of my first jobs. On the second day of the shoot, I didn’t charge any of the batteries correctly. This was for a TV pilot directed by Frank Darabont with Jeff Goldblum. I almost shut down the whole set because no one could use their walkie-talkies. So, I went to my boss and said, “I have something you’re not going to be happy to hear, but I messed up. How do we fix this?”
Through sheer determination and running around like crazy, I managed to get everything charged and handed off to people. It was definitely a baptism by fire, but it taught me a lot about how a film shoot is like an organism. Even when you’re at the lowest rung, with people yelling at you, you have to step up and take charge. But if you’re personable, flexible, and a real team player, you can get through almost anything. That’s something I always keep in mind, whether I’m producing or directing. People make mistakes, but if you work together as a team, you can find your way out of it, and you usually do if everyone cares.
Amazing story. So let’s get to the heart of our interview. You have so much impressive work. Tyrrell and Meryl, please, tell us about this exciting project you’re working on. Please tell us about this movie. Tell us why we have to watch it.
Tyrrell: Our film is called Katie’s Mom, and it’s about a mom who has an affair with her daughter’s boyfriend over winter break. Meryl can get into the origin story of how we came to tell that story. I think it’s a really important movie because you don’t see enough films about women pursuing passion that aren’t tragedies. There’s this pattern in literature and film where a woman pursues passion, and she ends up having to sacrifice herself — like dying at the end. Even in a film like Birth with Nicole Kidman, which I love, it ends with her wanting to die in the ocean.
Meryl and I are both passionate people who have made mistakes in relationships, and we believe you learn a lot about yourself through that process. It’s not something to be ashamed of, and it’s a lot of fun to have passion in your life. We both love shows like Girls and films like Moonstruck and My Best Friend’s Wedding. Rom-coms are often looked down upon critically, but we think they tell really worthy and interesting stories. That’s where the artistic heart of this film came from.
And we wanted to make it fun. There’s definitely a heartfelt aspect to the film, but the sex scenes, for example, they start out awkward and end sexy, or they start sexy and end up awkward. We wanted to take the audience on this rollercoaster of emotions. What I loved about the story that Meryl initially pitched to me was the challenge: “How can you root for someone doing something so controversial?” We spent years working on the script, and we worked closely with Dina, who plays Nancy. She really cared about making the character likable. It was a risk for her — taking on a role like this with a first-time director, especially with the sex scenes and the morally questionable choices the character makes. But we all worked hard to make people root for Nancy, to make it a story about pursuing passion while acknowledging that there are consequences.
And one thing I’m really proud of is how people react to the film. Women come up to us and say they feel so alive after watching it. I think women don’t get to feel that way enough, in a positive sense. And people really love Nancy. I think that’s a huge accomplishment — that people root for her, even though there’s a price to pay. It’s not a fantasy happy ending where everything works out perfectly, but we want to encourage women to pursue their passions and not be afraid to make mistakes. I’m proud that people walk out of the film feeling that way, especially older women.
Okay. Meryl, why should we watch this film?
Meryl: Well, there’s a lot of fun in it, for one. And like Tyrrell said, making Nancy likable meant making the other characters really funny and unique, so that you see this woman as alone in a world where everyone else is kind of messed up in their own funny ways. It’s not just about her journey but also about the people she interacts with. There are a lot of memorable characters in the film.
I think the central idea is that sometimes, you have to burn down the life you have in order to build the right one for your next phase. And while that’s a painful process, it doesn’t mean everything falls apart. Nancy’s family doesn’t end up broken; she just finds her own path after having this wild experience. And I think that’s something a lot of people can relate to.
Meryl, can you share the story, the true story that the film is based on?
Meryl: Sure. So, I was dating a guy when I first moved to L.A., and he had a few red flags, one of which was that he told me he had cheated on his girlfriend with her mother, years before we met — about 15 years earlier. We eventually broke up, partly because he decided that he was polyamorous and wanted to fully explore that. And he’s still happily living that lifestyle.
But as he was leaving, I think I wanted to understand him better. That was probably my initial motivation — understanding how he could have these relationships with two women, one closer to his age and one older, and actually respect both of them while getting different things from each. It was such a big betrayal on many levels, but I found it interesting to think about how that dynamic could play out.
As you know, The Graduate is among the most beloved films of all time. What do you think it is that captures people’s hearts and minds about this story?
Meryl: About The Graduate? Well, Tyrrell and I have always felt that Mrs. Robinson is the most interesting part of The Graduate, but you don’t really get to know her. She doesn’t even have a first name — she’s just “Mrs. Robinson.” We were really interested in exploring what made Mrs. Robinson who she is, and how she ended up that way. That curiosity is what led us to create Nancy in our film.
Great. So, Tyrrell, what lessons do you think society can take from the themes of your film?
Tyrrell: I think, for women especially, it’s about aging — it’s going to be okay. You can make mistakes, and you’re still sexy, you’re still beautiful. You don’t have to become a doormat to your children. It’s a reminder not to spoil your kids too much, which is something a lot of people relate to. Nancy’s daughter, Katie, is a bit spoiled, and that dynamic actually helps you root for Nancy. Even though Katie’s deeply flawed, we still love her too.
Another theme is that affairs don’t always have to be about love or heartbreak. During the development process, some people really pushed us to have Nancy and Alex end up together, or at least play with that possibility, like in a ’90s rom-com where there’s a will-they-won’t-they dynamic. But that wasn’t the story we wanted to tell. We wanted to show that these kinds of life-altering affairs can change you, but they don’t have to end in a romantic relationship. They can lead to self-growth and self-love, and they can be a wild, fun ride along the way.
Tell me about Chrismanukah
Tyrrell: Nancy’s goal in the film is to put on this beloved holiday celebration we call Chrismanukah, which blends Christmas and Hanukkah. It’s very much about California Jews. We imagined Nancy as being non-Jewish, while her husband is Jewish. But actually, half the actors, like the mom and the daughter, are Jewish, and then the father and the son are non-Jewish. So, we have this blended family dynamic. Meryl grew up in a similar blended family, and I come from a spiritual but not religious Christian household. So, we put our combined traditions into the film and had a lot of fun with it.
Have you seen or heard of Nobody Wants Us?
Meryl: I’ve been watching that, yeah. It’s very cute.
Yeah, it just reminded me of that premise a bit.
Meryl: We’re hitting the zeitgeist on another level.
Okay. So, this is our signature question that we ask in all of our interviews. And maybe each of you can alternate. So, Tyrrell, you do one, then Meryl can do the other. Based on your experience, can you share five things you need to create a successful career as a filmmaker?
Tyrrell: I’ll try to think of some new ones, because I feel like people answer this question the same way a lot, so I’ll try to get outside of the box a bit. But there are some obvious ones that I’ll mention because they’re so true. So, I’ll start with those.
First, building your team is crucial. When Meryl and I met, we had similar goals, and we loved the same things, which I think is so important. It helped us through disagreements and moments when people told us we should quit. We worked on this script for years together without getting paid, just believing in ourselves. It’s a testament to our choice in partners that we’ve managed to stick with it. We like to think of the film as a child we had together — this has been our longest relationship, almost nine years now. Certain people came on board who were also those kinds of connections — our cinematographer, our editor, Dina, and our angel investor. People who believed in the project for more than just money or ego. So, finding your tribe is key.
Second, you need to use what you have and turn it into an advantage. It’s incredibly hard to get your first feature made. When I was in grad school, I had access to loans, and I took a gamble on myself by taking out extra loans to use as seed money. It was one of the scariest things I’ve ever done, but it gave us the confidence to start our fundraising campaign, and that momentum kept building. I wouldn’t recommend taking out loans to just anyone, but as a filmmaker, you need to find your own way to take the leap. Once you do, things can start to snowball.
Third, turn rejections into ways to sharpen your skills. We had plenty of people who didn’t get our script and told us it wasn’t interesting. But those rejections helped us identify our audience, and instead of taking it personally, we used those notes to make our script better. Having a solid team behind you that understands the vision helps you weather those setbacks. We stayed open to different perspectives — especially during the George Floyd protests and the renewed focus on diversity in media. We worked with our Latino actor, Aaron, to make sure his role was portrayed authentically. Our cinematographer, who is Indian, pointed out when something felt off culturally, like a scene where Nancy would say a chant in an inappropriate context. Being open to those critiques is what makes a project better.
Fourth, use your time wisely in the beginning when it’s just you. Before you have a bunch of people involved, really work to make your script great. Meryl and I spent a lot of time workshopping a script — we even put up scenes in front of other directors with actors and got notes. We placed in the Academy Nicholl Screenplay Competition twice before starting our fundraising journey, and that was a sign that we were on the right path. By the time we worked with our cast, I knew the script inside and out, and I was ready to direct with confidence.
And lastly, you have to really love your project. I see a lot of filmmakers trying to create something because they think it will be popular, but it’s impossible to predict trends. It’s funny — after working on this script for nine years, shooting it two years ago, and now releasing it, we’ve found ourselves part of a trend with other MILF films coming out. We couldn’t have planned that. We just loved the story, and you have to love it enough to live with it for years. For me, it’s about creating something that makes me laugh, makes me cry, and has a positive message. If I’d spent nine years working on a horror film, I think it would have been draining. You need to be sure that this is how you want to spend your time.
Meryl, you want to add something?
Meryl: Yeah, I wrote mine down too, and there’s some overlap, but I’m going to share them anyway.
My first one is, “Don’t chase the trend,” which is kind of what Tyrrell just said. Don’t make something because you think it’s hot right now. By the time it’s done, the trend will probably have passed. Make what you love.
Second, use your real experiences. While our film is in conversation with The Graduate, the specific things our characters do come from our own lives, not from other characters we’ve seen on screen. It makes the story feel more authentic.
Third, workshop your work — don’t be afraid to share it. A lot of people hold their work too close and don’t let anyone see it. But we got great ideas from people we showed it to, including the actors who ad-libbed lines that made it into the script. It made the film feel richer.
Fourth, be willing to kill your darlings. We cut so many characters from the script, but even though they’re not in the final film, their presence is still felt. It’s like the world we created is bigger than what’s on screen, and the relationships between characters feel more real because of that.
And number five — do it for the people who rejected you. Do it for the ex who didn’t believe in you or the industry folks who didn’t get your vision. A little bit of spite can be a powerful motivator. Revenge can be a great motivator.
Can you share with our readers any of the self-care routines that you do to help your body, mind, and heart to thrive?
Tyrrell: Sure. I’m definitely into working out, though I have to admit, I slacked off during the shoot, and I was so physically wrecked by the end of it. My heart rate went so high — oh my gosh. Meryl and I are obsessed with our Fitbits. We share our Fitbit data with each other, even when no one else cares! Balance is really hard because filmmaking just takes over your whole life. Finding time for exercise or some “me time” is a real challenge, especially during shooting. But it’s so important.
One thing that kept us sane — and this ties back to those five things I mentioned earlier — was having other things going on outside the film. Meryl and I both went to grad school on different coasts while working on this project, and we kept writing other things too. We love this film, but we’re not helicopter parents about it, if that makes sense. We have other creative passions and relationships, and that helps maintain balance. And having a teammate to talk through everything with is crucial. I can’t imagine doing it alone or being completely obsessed with just one project. It’s smart for filmmakers to have other projects and interests. Otherwise, you might go a little crazy.
Meryl: Yeah, I totally agree. We’ve been to a lot of festivals together, and when you’re in those spaces, there’s this pressure — or at least for me, as someone who gets FOMO — to attend every event and screening. But at a certain point, I realized you have to make time to just enjoy the experience. It’s okay to miss a panel or a film if it means taking a moment to relax and enjoy the city you’re in. And don’t think of it as just networking. Think of it as building relationships and making new friends, rather than asking, “What can this person do for me?”
Tyrrell: Yeah, building a tribe.
So, this is our final aspirational question. It’s a more serious one. Because of your great work, each of you, Tyrrell and Meryl, are people of influence. If you could spread an idea or inspire a movement that would bring the most amount of good to the most amount of people, what would that be?
Meryl: A movement or an idea that would bring the most good… I’d say, get out of your house and off the Zoom, and really connect with people. Get away from your phone, participate in community events, gather, and listen. Don’t just read what people have to say online — have real, in-person conversations.
Tyrrell: I think I’d go a little more specific, especially for those entering the film industry. For a long time, I wasn’t on a film set with a female director — besides myself — until I was around 30, and even then, it was someone I had hired at a production company. In the past, there was this whole “pick me” culture where being the only woman on set is seen as a lucky break, but it shouldn’t be that way. It should be about being kind to other women, and more broadly, making allies rather than adversaries.
That’s how you find your tribe — by building partnerships with people who might otherwise be pitted against you. And I think it’s especially important for women to support other women. But that idea extends beyond gender. It’s about helping each other instead of competing with one another, and when we do that, we can achieve amazing things.
So how can our readers watch the film? How can they support you in any way? How can they purchase anything or continue to follow your work?
Tyrrell: It’s available on Amazon Prime to rent and buy, as well as on Fandango and DirecTV.
Meryl: And you can follow all the release info on the Katie’s Mom movie Instagram, where we promote the film primarily.
Okay, great. It’s been so nice to meet you both. I wish you continued success and blessings, and I hope to do this again next year when you’re working on your next big project.
Tyrrell: Thank you.
Meryl: Thank you.
Tyrrell Shaffner & Meryl Branch-McTiernan: Five Things You Need to Create a Highly Successful… was originally published in Authority Magazine on Medium, where people are continuing the conversation by highlighting and responding to this story.