
“Don’t Be Afraid to Speak Up and Set the Tone”: Producer Pierre M. Coleman on Ricky

Ricky follows the travails of its title character (Stephan James), who has just been released from prison at age 30, as he tries to reintegrate into his community in Hartford, Conn. The film, directed by Rashad Frett, is an adaptation of Frett’s own short, itself a Sundance 2023 premiere.
Ricky also marks Pierre M. Coleman’s first turn as a lead producer after handling the initial short. Below, he recounts the origin of his “little engine that could” and speaks to the importance of good partners.
See all responses to our annual Sundance first-time producer interviews here.
Filmmaker: How did you connect with this filmmaker and wind up producing the film?
Coleman: I’ve been working with Rashad for the past 15 years. We connected through his relative (and one of my best friends), collaborated on a project and the rest was history. We share a passion for social justice and wanting to use our art to be agents of change. I produced Ricky the short, so it was a no-brainer for us to bring the feature to life.
Filmmaker: How long a process was it to produce the film, and if you could break it into stages, periods of time, what were they?
Coleman: This has been a four-year journey. In March 2020 we were slated to shoot Ricky the short and COVID shut the world down. During the lockdown, Rashad had the chance to hone the script. We received an incredible grant from Cary Fukunaga, met new partners and shot the short in 2021. While making the short, the idea of turning it into a feature made so much sense. Ricky’s story was familiar to us because we have family and friends who’ve been through the system, and we watched them struggle to find their way. He’s a culmination of all of these people, and it was important for us to humanize them and give them a voice.
Rashad and his co-writer, Lin Que Ayoung, wrote the script, and we were fortunate to get accepted into the 2023 Sundance Screenwriters Lab. Ricky, the short, also premiered at Sundance that year. Rashad and Lin Que worked with the lab to develop the script. During that time, Rashad was accepted into the 2023 Sundance Directors Lab, I was accepted into the 2023 Sundance Producers Lab, and we met our investors/partners. Later that year, we partnered with the amazing Avy Kaufman to start the casting process. In 2024, we continued casting and began some light prep. Rashad chose his hometown, Hartford, to film, so we gathered our resources to prepare for official prep. After countless meetings, shaping our budget and hiring our crew, we went into production in July. I call this “the little engine that could” film. We started as a short for an NYU thesis, and it grew so much bigger than us.
Filmmaker: Can you also discuss how the financing came together and how long a process that was?
Coleman: We were fortunate enough to have WME as our partners to find funds. Rashad’s agent, Craig Kestel, played a key role in helping us find our amazing investors/partners. From our time of meeting to going into production was about a year.
Filmmaker: Did you have important or impactful mentors, or support from organizations, that were instrumental in your development as a producer?
Coleman: The 2023 Sundance Producers Lab was monumental and life-changing for me. Shira Rockowitz and everyone at the Lab were instrumental in the process of making this feature and also in my development as a producer. The Lab created a safe space to grow and focus on our well-being. The timing of the Lab was serendipitous because it aligned with the development/prep/production of the film. I was able to receive guidance from advisors like the incomparable Nina Yang Bongiovi, producer partners Neil Kopp and Anish Savjani, and lab mentor Stephen Love. They helped me navigate through all phases of the process. I am forever grateful for the Lab because it not only equipped me with the tools for Ricky, but it took a holistic approach to shape my overall producing career. And I’m thankful for finding a new mentor in one of my producing partners, Josh Peters.
Filmmaker: What was the most difficult aspect of producing this film?
Coleman: I think the most difficult aspect of the film was taking a big story and shaping it to fit our budget. We had to find a way to marry limited time and money without compromising Rashad’s vision. All while filming during a heatwave.
Filmmaker: What single element of the film do you take the greatest amount of pride in, or maybe were just most excited by, as a producer?
Coleman: I think I was most excited about the cast and crew of our film. I got to work with talent whose careers I’ve admired for so long, and I had the chance to hire some crew members who were childhood and college friends and previous crew from the short film. It felt like a huge full-circle moment for me.
Filmmaker: What surprised you or was unexpected when it comes to the producing of the film?
Coleman: I was surprised by the magnitude of responsibility that comes with being a lead producer. I’ve worked in production for many years and was a part of bringing projects to life, but this time I was looking through a different lens. This is my first feature as lead producer, and I got to see the intricate financial and legal responsibility of the role.
Filmmaker: What are the challenges facing new producers entering the business right now at this unique historical moment?
Coleman: I think one of the biggest challenges facing new producers is the instability of the market, which is causing a constant structure change in the industry. There are so many important stories to be told, but it is difficult to know whether you’ll be able to secure funding or partner with a bigger platform that will elevate your story.
Filmmaker: And what could or should change about the film business to make producing a more sustainable practice?
Coleman: Pouring more funding into unique stories and independent filmmaking can make things more sustainable. Having more access to funds and resources will increase the number of projects we can create, leading to more jobs for others.
Filmmaker: Finally, what advice would you pass on to future new producers preparing to embark on their first production?
Coleman: Imposter syndrome is real. Take the time to remind yourself that you’re capable of being in the room. Don’t be afraid to speak up and set the tone of the production. It is your duty to protect all aspects of the film—story, funds, cast, crew, etc., but remember to protect and take care of yourself. You’re going to make many mistakes, but you’ll learn from them. And have a great team who will support you.