ABOUT STATIC HEART PRODUCTIONS
founder / executive producer / director
I started out as a musician, playing and booking my own shows since age twelve. After years and years of pursuing music, it was time to venture into something new. I got hooked on filmmaking and realized this is the strongest creative outlet I could get my hands on. I grew a passion for it in high school and have been creating ever since. In the summer of 2014 is when I decided to start up my own production company, which birthed Static Heart Productions.
I am a very passionate person and I love collaborating with our film family that we have gained over the years. My dad has always told me when I was growing up, that I should always try and work with people who were better than I am. It's definitely helped me grow as an individual and a filmmaker. It's also taught me to never settle, strive to be better, and to be up for any challenge that presents itself to me. And damn it, I love a good challenge.
I've always loved the creative process of writing and conceptualizing films, as well as music videos. My third eye is always open and constantly visualizing the scenes before they are even written down on paper. When my imagination runs wild, there's nothing stopping it.
I love the thrill of being on set and working with like minded individuals. Filmmaking is a collaborative effort, and I wouldn't be anywhere without the amazing team we work with on every project. I've made some amazing friends and people I consider family. We've created a bond like no other and I am extremely grateful for it.
We love to create all styles of films because I told you earlier, I love the challenge. But for me personally, I have a soft spot in my heart for indie dramas/comedies. Just the interaction with people being people can create some of the most fascinating films.
With all that being said, I hope you enjoy all the films and music videos we have created. We are constantly creating, so be sure to check back on the regular for new content and news within the Static Heart family.
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.