A performing artist and producer born in San Francisco, Michele Bear has made a career entertaining on the stage and behind the camera. Now calling New York home, Michele completed her studies at Marymount Manhattan College, with training from the Lee Strasberg Theatre & Film Institute.
Her stage performances include a starring role in Gypsy and in the one-woman show All Things Considered, which was shown at the Edinburgh Fringe Festival. She’s also been active in several major motion picture productions, like Cold Case Files, Scamanda and Blacklist. Her resume includes a handful of short films which include In Your Head and Strawberry Mentos.
Her most recent work is her involvement in the pilot episode of the Annika Carlson & McKenna Dersam directed MANEATERS. Her work extends to the film festival circuit, where she founded the B. Frank Film Festival under her very own production company, MBear Entertainment. The festival launched with a lineup of fourteen shorts, with Michele serving as executive producer on ten of them.
What can you tell us about your childhood? When did you begin gravitating towards filmmaking and the performing arts?
I grew up in Marin County, California, in a loving and supportive home with two younger siblings and a golden retriever always roaming around somewhere. I was always told I could do anything I put my mind to, something I’ve come to realize is a rare gift, and one I’m incredibly grateful for. That kind of encouragement gave me the confidence to pursue the things that truly lit me up, which quickly became performing and storytelling.
Even though my parents weren’t in the arts professionally, they loved the arts deeply. Our house was always filled with music and gatherings of friends and family. They took me to musicals, introduced me to classic films, and exposed me to creative experiences wherever they could. Their passion helped ignite mine, and they gave me the freedom and space to explore it.
Apparently, I made my stage debut at two years old during a birthday party performance. I ran on stage, introduced myself, and sang “Twinkle Twinkle Little Star” to a crowd of 50. From there, I never really stopped. I was organizing neighborhood talent shows by four, constantly singing Disney songs with my babysitter, and watching movies like Singin’ in the Rain, which still shapes how I view film and performance today.
The arts were truly celebrated in my household, and I’m so grateful for that. It wasn’t just about performance, it was about community, imagination, and expression. That foundation has stayed with me and informs everything I do as a filmmaker and creative.
Who are your contemporaries who you look up to or admire? What works of theirs shaped your filmmaking journey?
While I grew up watching classics like Singin’ in the Rain, a film I consider a masterclass in blending the theatricality of stage with the intimacy of screen, I find myself continuously inspired by contemporary filmmakers like Greta Gerwig, Ari Aster, and Céline Song. Films like Little Women, Midsommar, and Past Lives may live in completely different genres, but they all share something I deeply admire — a commitment to emotional truth.
Whether it’s a quiet moment of human connection in front of the Dumbo carousel or a scream heard across a Swedish commune, these stories feel real. They aren’t afraid to go big, strange, subtle, or raw, and that’s something I strive for.
And look, I’m also someone who thinks the Scream franchise is a masterpiece. I love camp. I love a little chaos. But I think even the wildest stories land hardest when they’re rooted in something honest. That’s what all these filmmakers do so well, and what keeps me excited about storytelling.
Having been both the decision-maker and the performer, how has your perspective on power dynamics and the hustle of production in film/TV sets evolved?
The biggest shift for me has been a deeper, more embodied understanding that film is just as much a team effort as any live theatrical production. Every single person on a set, no matter their title, is essential to making the machine run. And having worked as a PA on sets for several years, I’ve seen firsthand how even the roles that are sometimes considered “entry-level” are completely foundational.
Honestly, I now believe that every actor should take on a production role at some point, and the reverse is true too. Everyone working in production would benefit from experiencing the vulnerability and complexity of being in front of the camera. When you’ve lived both sides, there’s this mutual respect that develops. It’s not theoretical, it’s felt. That kind of understanding makes you a better collaborator and allows the entire production to function more smoothly, with more empathy and shared purpose. I can wholeheartedly say that I have grown as an actor just from working in production.
Have you ever found that producing a project changed the way you approached performing within it — and vice versa? Can you share an example?
Yes, producing a project has absolutely changed how I approach performing within it. On our most recent shoot for MANEATERS, where I was both executive producer and lead actor, I found it difficult to separate the two roles. It genuinely wasn’t until I stepped on set that my producers had to say, “Okay Michele, you’re the actor now. You’re not in charge of the crew. Let us handle it.” And I can’t emphasize enough how thankful I was for that boundary and for the team built around me to hold that line.
Up until 2 a.m. the night before we started filming, I was still in EP mode. Finalizing contracts, coordinating with cast, troubleshooting logistics. It was hard to fully let go. But stepping into the role of actor required trust. Trust in the crew, in the producers, and in the preparation we’d done. That shift was crucial. I would not have been able to perform the way I did without that protection.
I’ve also learned that I have a hard time delegating, so this shoot became a real lesson in letting go and allowing others to carry what I couldn’t. When I was acting, I had to just act, and when the camera stopped rolling for the day, I could step back into the producer mindset. It’s a delicate balance, but when it works, it’s incredibly rewarding to see both sides of the process come together so cohesively.
What kinds of stories do you feel compelled to champion as a producer that you might not have the chance to embody as an actor?
As a producer, I’m drawn to stories that push boundaries, reflect the world we live in, and spotlight voices that deserve more space in our cultural landscape. While I may not always be the right actor to embody those narratives, I see producing as a way to support stories that are bold, urgent, and underrepresented. Especially from communities that have historically faced barriers to access and visibility in the industry.
I’m especially committed to helping elevate projects from LGBTQ+ creators, artists of color, and filmmakers telling stories that challenge the norm or explore truth in brave, unexpected ways. I recognize the privilege I carry, and I believe in using that position to help create space—whether that means backing a story financially, helping it find an audience, or simply being a connector behind the scenes.
To me, producing is about more than getting a project made. It’s about fostering community, creative risk, and a platform for storytelling that moves conversations forward.
What is the hardest “invisible” decision you’ve made as a producer that the audience would never know about — but that shaped the final work dramatically?
Honestly, I think one of the most challenging parts of producing is that almost every decision that shapes the final product is invisible to the audience. Whether you’re producing a film or something like a festival, the work behind the scenes is nonstop and often unnoticed. When it’s done well, that’s usually by design.
It’s everything from determining how much inventory to order, to when and where posters go up, to making judgment calls about scheduling, team dynamics, or last-minute budget reallocations. I can’t point to one single hardest decision, because so many of them carry weight in their own way. But I can say that the hardest ones are often the quietest. The decisions that nobody sees but that ensure the entire machine runs smoothly.
On MANEATERS, for example, there was a moment when we had to decide between a hard yes or no on a critical element just days before the shoot. It was the kind of call that could either push the production forward or shut it down entirely. Making that decision meant balancing creative vision with logistical reality, and it shaped the entire trajectory of the project — even though the audience will never know it happened.
MANEATERS is the latest project that your name is attached to. It’s set in an authoritarian New York where women have lost the right to control their own reproductive choices and five friends are trying to save one of their own. What can we expect from the pilot and beyond?
The world of MANEATERS is a heightened near-future New York where bodily autonomy has been criminalized, and a girls’ night gone sideways becomes a fight for survival.
You can expect a high-stakes, fast-paced dark comedy that blends razor-sharp satire with grounded emotional truth. It’s Broad City meets The Handmaid’s Tale — chaotic, bold, and urgent. This project isn’t just a pilot, it’s a shift. It’s a movement. MANEATERS is for the girls (and gays and theys and allys) who are angry, overwhelmed, and done playing small. It’s for those who want to laugh through the rage and find power in community.
Our goal is that world of MANEATERS will continue to expand. Our hope is that this pilot acts as a launchpad for a full season and beyond. A universe where sisterhood is resistance and where satire becomes a tool of revolution.
We’re hosting a special MANEATERS panel at the B. Frank Film Festival on October 5 at the SVA Theatre, where members of our cast and production team will discuss the process and vision behind the show.
What were the influences that shaped the dark, dystopian story of MANEATERS? How do you plan on approaching its difficult subject matter?
The tone and style of MANEATERS live somewhere between The Handmaid’s Tale and Broad City — it’s a dark, dystopian satire told through the lens of fast-paced, irreverent comedy. The idea was to explore real, pressing threats to bodily autonomy and personal freedom in a way that feels digestible, bold, and unafraid.
We didn’t want to shy away from the weight of the subject matter quite the opposite. We approach these themes with care, intention, and clarity of purpose. This project is our way of confronting it head-on while still giving audiences space to laugh, connect, and feel empowered. The absurdity of the world we’ve created reflects the absurdity of what’s happening in real life. It’s high-stakes and it’s heightened, but it’s grounded in truth.
I remember when I was seeing the Barbie movie, and a guy friend turned to me after and said, “I was honestly really upset at how the Kens were being treated… and then I realized that’s how women are treated in the real world.” I laughed and said, “Well, hey, you got there eventually.”
That’s the power of story. Sometimes the only way to help people confront uncomfortable truths is to let them feel their way into it. That’s what MANEATERS is doing: using comedy, sisterhood, and a dystopian backdrop to hold a mirror to the moment we’re living in and to build a movement through it.
You also founded the B. Frank Film Festival, a film event in New York that is entering its second year and will be held on October 5th at the SVA Theatre. You described it as a “launchpad”. What opportunities do you provide for attendees and how do you think these will help mold other likeminded creatives?
At its core, the B. Frank Film Festival is designed not only for filmmakers but also for the audiences who care deeply about bold, meaningful storytelling. For attendees, we’ve built an environment where discovery, dialogue, and connection are prioritized. The festival features Q&As after every film block, a live panel conversation with the team behind MANEATERS, and networking spaces where audience members can interact with the filmmakers, cast, and producers in a genuine, low-pressure setting.
We’ve curated the day to feel immersive and celebratory. Attendees can enjoy food and drink from beloved local spots like Two Boots Pizza, C&B Bakery, ABC Wine Co., and Brooklyn Brewery. There’s a red carpet for photos and personal expression, but with no pressure to “dress up.” We encourage everyone to come as they are, however they feel most confident and comfortable. Our sponsor Unicorn Snot is also providing fun gifts for guests to take home!
We want audience members to leave not just entertained, but energized with new ideas, new contacts, and a renewed sense of how film can reflect, challenge, and inspire the world around them. Whether you’re in the industry or just passionate about film, this is a place where your presence matters, your voice is welcome, and your curiosity is celebrated.
The first edition of the B. Frank Film Festival had fourteen shorts, ten of which had your name attached as an executive producer. What made this lineup special? What were qualities you looked for?
The first edition of the festival actually launched under a different name: The Future of Art. It’s since evolved into what’s now the B. Frank Film Festival, but the core mission has always been the same — to create space for filmmakers to have their work seen and appreciated, to give them a platform.
What made that original lineup so special was the spirit behind it. I knew so many talented filmmakers, writers, and storytellers who were sitting on incredible ideas but had no outlet or push to bring them to life. So I created one. That first round of films was about saying: Make the thing. I’ll give you the space to show it. I’ll find you a crew of people if I have to. I’ll help you make it happen. And they trusted me. That trust is what made it so personal and so powerful.
As a producer, I didn’t set out to micromanage or shape the vision of these projects. I simply wanted to empower filmmakers who were ready to do whatever it took to get their work made. The main quality I looked for wasn’t a certain aesthetic or genre, it was drive. Grit. People who had something to say and were willing to go all in to say it. That’s what brought the first lineup to life, and it’s the spirit that continues to fuel the festival today.
What can you tell us about this year’s edition? What can audiences expect at your event on October 5th?
This year’s edition of the B. Frank Film Festival offers something truly special for audiences. We’ve curated ten short films that span genre, tone, and perspective. Each one chosen for its originality, emotional impact, and ability to provoke thought. These aren’t just films that entertain, they challenge, disrupt, and start conversations.
Alongside the shorts, we’re hosting the world premiere of Beautiful Pam, an exciting new indie feature followed by a filmmaker Q&A. We’re also presenting a live panel on MANEATERS, our original TV pilot currently in post-production. That session will include cast and creators, offering a deeper look at how the project is being developed and where it’s headed next.
What makes the event even more fun is the energy surrounding it. We’ll have food and drink from local NYC staples like Two Boots Pizza, C&B Bakery, ABC Wine Co., and Brooklyn Brewery, plus a red carpet experience and giveaways from Unicorn Snot. It’s a full day meant to be as celebratory and welcoming as it is meaningful, an experience for anyone who loves film and wants to be part of something real.
What are your long term plans and future projects besides MANEATERS and the growth of the B. Frank Film Festival?
Beyond MANEATERS and the B. Frank Film Festival, my long-term goal is to continue building platforms where emerging filmmakers can thrive. Creating space for bold voices, giving someone their first, “YES!”, has always been at the heart of my work, and I want to keep expanding that mission through both creative and producing efforts.
I also see the festival as a place to discover new collaborators. I’m excited to meet filmmakers whose voices I haven’t encountered yet. People who might want to share a script or an idea, and who I might be able to support through my production company, MBear Entertainment. Whether that’s connecting them with resources, helping assemble a team, or potentially producing their project through MBear directly, I want to continue serving as a bridge between talent and opportunity.
In the long run, my plans are really about sustainability: to keep doing the work, building community, and making things that matter. A mentor of mine once told me, the work is the win, and that’s something I carry with me. As long as I’m making space for others and continuing to create with purpose, I know I’m on the right track.
