static heart productions
Static Heart Productions started in August of 2014. It started when Taylor Fredricks wanted to pursue his love for film and filmmaking. Applying conceptual stories to music videos, Taylor wanted to start creating films, so in 2015, he created SHP's first short film, "Trapped". From then on, Static Heart Productions joined forces with friends from Undefined Cinema and Fritzel Media to create quality films as well as develop awesome friendships. In the summer of 2016, Taylor worked as Director of Photography for "Dougherty Row", a short film crime drama written and directed by Adam King. Ever since that experience of working on set together, Taylor invited Adam to be a big part of Static Heart Productions. Static Heart Productions has produced almost ten short films since it's fruition with nearly twenty music videos and counting. The main goal of SHP is to create quality films, not only aesthetically, but to also convey a message that a lot of people can relate with.
founder / executive producer / director
I started out as a musician and thought I was going to be some rockstar, but that never happened. I ended up pursuing filmmaking and think this is definitely the right direction. I have also been a creative and passionate person when I find something I enjoy doing. I don't normally like trying to describe myself and what I like to do, just because I never know what to say.
Some of my favorite things are: David Fincher films, Mr. Robot, Vans apparel, negative space, sad songs, and meeting and working with new people.
I always get asked what kind of films we make, but we aren't fixated on one style, we just let our inspiration flourish into wherever it takes us. I feel like if an idea is itching to get out, let it out. Don't let anything hold you back. If you are unhappy, find what's stopping you from being happy and fix it.
I believe film is a way to broaden your mind into something unique and make something beautiful while enjoying the ride and collaborating with others. Collaboration is something I am a firm believer in. I wouldn't be the filmmaker I am today without the friends we create films with. Combining many talents on one production is something that should never be taken for granted because it can turn into something amazing.
I wish I had more to talk about, but for now, I will let this be it. Thanks for reading and checking out our work!
executive producer / writer / director
Most of my friends just call me Adam, so I’m inclined to say that you can, too, although I did suffer through a phase in high school where the popularity of my nickname, “Kinger” (an uninspired bastardization of my last name that in hindsight was probably better than “Kingy”), reached such heights as to become single-handedly both the coolest and most annoying aspect of my entire life to date.
So I guess I’m pretty lucky, all things considered.
I believe in a lot of different things, but listing them in some fashion has always seemed to suit people well as a means of introduction, which is then followed by some hasty first impressions, so brace yourself.
I believe in the following, in no particular order or preference: breakfast for dinner, tattoos, Nouvelle Vague, film noir, contact sports, Chuck Taylors, meet-cutes, the rule of thirds, punk rock, wide shots, and doing it yourself.
I believe that Han shot first.
I believe that the films of Keaton and Chaplin are to be cherished and studied so that the beauty of that era might still somehow infiltrate the way we make movies today.
I believe that Orson Welles’s adaptation of Booth Tarkington’s Pulitzer Prize-winning novel, The Magnificent Ambersons, would’ve been the greatest film ever made had it been allowed to exist for the whole world to see in its original 148-minute cut.
I believe that the splendor of visual storytelling lies in its evocation of human empathy, in its thought-provoking presentations of the many human conditions, and in its ability to make us love strangers on a screen unconditionally, and that Robert McKee was right when he said, “Stories are the currency of human contact.”
I believe that there is a kind of whimsical merit in basing the discovery of your soul mate on his or her ability to identify, and then complete with a deliciously cinematic kind of flair, any quote from any movie that you’ve ever loved and spend countless hours trying to get other people to love as well.
I believe that the study of film form and its subsequent analyses of both substance and style is a lost art that must be resurrected by the next generation of screenwriters and filmmakers who wish to have this industry taken seriously again as an art form.
I believe (well, I hope) that the films we humbly submit to you – the casual viewers, the outspoken critics, the celluloid connoisseurs – will resonate on some kind of level with anyone who comes in contact with their words, images, characters, and themes.
And, finally, I believe I’m done.