Director Biography – Stephen Keep Mills (LOVE IS NOT LOVE)

Stephen Keep Mills (Writer/Director/Actor/Producer) started out as an actor leaving the Yale Drama School in the spring of 1969 to join the Guthrie Theatre and then appearing over the next seventeen years with many regional companies in both the US and Canada. He performed in “The Shadow Box”, “Story Theatre” and “Metamorphosis” on Broadway and in several Off-Broadway houses including The Roundabout Theatre and The Public where his performance in Vaclav Havel’s “A Private View” earned him a Drama Desk nomination. His television credits include guest-starring roles in over 25 episodic shows and Movies Of The Week, a regular stint on the series “Flo” and a recurring role on the Sci-Fi series “VR-5.”


In the late 1990’s, Mills began directing and producing his own written works on stage, gaining critical notice with “SquareOne” in LA as well as an Ovation Nomination for his adaptation of “A Christmas Carol: The Ghost Story of Christmas” which he directed in collaboration with DeafWest Theatre in American Sign Language. In 2003, he produced and acted in the film of his play “Hotel Lobby”, and thereafter cast himself full-time as a filmmaker. He made his directorial debut with the 15-minute film “A Cigar at the Beach” (2005) which screened world-wide in 166 festivals, winning 47 awards. He followed up with another short “LIMINAL” in 2008 that accumulated 84 festival screenings and 30 awards. Mills is a member of Academy Award Winner Bobby Moresco’s Actors’ Gym and is included in Del Weston’s (AOF) Top 100 Indie Filmmakers In The World Part 1. He is mortally coached by the “living” ghost of Stella Adler. “Love is not Love” marks Mills’ first feature as director.


Director Statement

I am more attracted to the irrational swirl of interior particles of the human condition than the linear logic of exterior plots—sort of a psychological pointillism. The most epic dramas are all silently pitched on internal battlefields and we enter them like dreams, cracking the code of their riddles.


I want to put the viewers in places and situations they recognize but without dropping the breadcrumbs to tell them how they got there. I want to open their private eye onto the impressionistic world of the Interior. Our shared Interior. The drama I prefer is the drama of the private “I”.

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