MEREDYTH WILSON
Writer/Director
TALenT DeVeLoPMenT ProGrAM:
Project:Involve
CUrrenT ProJeCT:
Lost night (Narrative Feature)
LOGLINE
An injured soldier returns to civilian life as a cop in a rural town and takes on the mysterious investigation of
a dead undocumented immigrant. No one wants him to solve it, including the sheriff, who happens to be his
father.
BIO
Meredyth Wilson grew up in the San Francisco Bay Area and came to fi lmmaking through a background in
photography, creative writing, and sound. She received a BFA from The School of the Art Institute of Chicago
then made an initial foray into the world of moving images.
Wilson has since produced, directed and found distribution for a number of short fi lms and documentaries
including Hold Fast: The Story of Eastside College Preparatory School (KQED 2002), The Black Plum
(Wolfe Video) and Shugar Shank (Wolfe Video). She received an MFA in Directing from UCLA’s School of
Theatre Film and Television and continues to work professionally in Film and Television, currently on TLC's
controversial, Toddlers & Tiaras.
Wilson's primary interest is in the transformative experience, how particular moments in life call on us to face
ourselves anew, re-imagine who we are, and edge closer to the stuff inside, or in some cases, just run.
In addition to Lost Night, Wilson’s current projects include:
Minutesteaks!, a comedy for television featuring a Minute Men like gang of action fi gures operating out of
the fi ctional border town of Mexicornia, where cultural awareness boils down to how hot you take your salsa.
My First Pony, a documentary, looks at personal expression through stories of fi rst-time strap-on experiences
from individuals of all genders and sexual orientations.
gm
ai
l.
co
m
re
dy
th
.w
il
so
n@
CO
NT
AC
T
:
me
84 84
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94