8 Questions with……….actor/director Cedric Gegel

Its 12:25 pm


Welcome to 8 Questions with…..

  One of the best things I like doing this series is just how randomly these interviews come together. Some interviews come after weeks or months of just casually talking with the person I am hoping to chat with and some interviews,like the one with our guest Cedric Gegel,happen after swapping 10 tweets.
   Of course when that tweet is about someone beating cancer’s ass,you just know I am all about talking with anyone who does that and that is how I met Cedric. We exchanged about 10 tweets and I just knew I wanted to know interview Cedric about his career as an actor and director. 
  I’m so happy that Cedric agreed to chat because he has a lot to share and I really think you’re going to really enjoy his story and since there is a lot that Cedric has to share….let me get out of the way and let Cedric answer his 8 Questions………



Please introduce yourself and tell us about your most current project.

Hi! My name is Cedric Gegel, and I am an actor, screenwriter, and director, currently based in Philadelphia, PA and working wherever the films take me. I’ve got a couple of films on the docket as an actor that are coming up, but as a director and writer, I’m kind of involved in a few projects. The most exciting one is a drama coming up titled To A God Unknown (or The Color I Feel), which is an in-depth character study on mental health, the impact religion can have on it, and how relationships can play into how we heal. It’s a very personal project that is really invigorating for me, but it’s definitely heavy. I’m also currently working through about seven other concepts for films at varying stages of completion – for some, scripts have been started, for others, the only thing I have is a logline. It’s kind of an exciting time right now in that regard.


How have you been handling the pandemic? How have you kept yourself busy?

   It’s been a struggle. Before the pandemic, I could always go to a park to get my thinking done or plan out my stories or reevaluate characters. The mind is where all films begin, and it is where all films are formed, so it needs to be engaged at all levels of the creative process. One of my peers said recently that directors need to be self-reflective, and I think that’s really true. So, unfortunately, with a lot of public spaces closed or not really functioning as a viable creative space, that’s been a bit of a struggle. I did learn to take and enjoy walks, which began as twenty minute exercises and eventually became an hour or longer as I re-learned how to engage my mental self. Obviously, I can’t really go to coffee shops at the moment, which is unfortunate because I like being able to go to a coffee shop and force myself to write. That said, it’s a lot cheaper to not go to coffee shops! Plus, I’ve tried to wean myself off of coffee during the pandemic. I was drinking three to four cups a day before this, and now I’m down to one or two a week.
To really answer your question, it’s been hard to focus. I think that the world has been a bit exhausting as of late, and it’s important that we focus on that, but from a purely creative perspective, it’s been difficult to zero in and focus. I think there’s a mild responsibility on creators to make things that are life-giving and uplifting, at least to an extent and insofar as it serves the story. It has to be honest. Maybe I’m speaking more about myself there – I feel like the films I feel compelled to make during this time are films that lead to hope more than anything, but without being fake about it, and that’s difficult right now.
   That said, I did start a podcast where I interview fellow actors and writers and directors and composers and who knows what else, so that’s been really fun, and I have learned a lot from it. I’ve spent some time re-learning acting technique and getting back to basics, read some screenwriting textbooks, directed a virtual production of Edward III, recorded some scenes with other actors over Zoom, and other stuff, so I’ve been trying to stay engaged and active with my creative self. I think that’s really important.


 You just received news that you are a cancer survivor! Can you share with us a little about your ordeal? How do you feel when you don’t see people mask up for Covid-19? 

Oh gosh. Yeah. What a journey. I was diagnosed in 2015, just a few weeks after officially “starting” my acting career and literal days after the end of my sophomore year of college. I had epithelioid hemangioendothelioma, more simply described as being blood vessel cancer. It’s pretty rare, and mine happened to be in my left elbow. We discussed a variety of options, including surgeries, chemo, radiation, amputation, and just doing nothing. In the end, given how much damage was already occurring, we decided on a combination of surgeries and radiation therapy, which was going to (hopefully) allow me to keep my arm.
   To be blunt, it was quite a painful and miserable process, and I underwent an enormous amount of personal change that summer. I became much more quiet and introverted. I lived by myself and had to work several jobs to be able to pay for everything. It was a bit brutal at times. I also really engaged my faith at that time. I’m a devout Christian, but an experience like that really starts to challenge your perspective and beliefs. My relationship with God changed enormously. I think my faith became a much deeper, more rooted, and more confused thing. The more I learned, the less that made sense, and the more fluid and wondrous God became. Then I started engaging more with the books of James and Ecclesiastes in the Bible, and learned that this process is a really healthy thing. That’s what really kept me going.
 As of last Monday, I found out that I no longer need to be followed by a doctor. No more cancer check-ups! After four surgeries (initial biopsy, elbow scope, installation of a plate and six screws, and removal of a screw that was bending inside the elbow, which is incredibly painful and I do not recommend), dozens of days of radiation therapy, and years of careful work to learn the “new normal” of my body, they do not think the cancer will come back. I still have to do physical therapy and deal with daily chronic pain, but, as I recently realized, as much as the pain in my elbow hurts, I should be thankful that I have an arm to begin with.
 I get really frustrated when I see people not wearing masks. My cancer makes me a bit more susceptible, but it’s really my blood disorder (I’m a walking bag of medical fun) that makes me angry. I’m on blood thinners because my blood clots really fast – I’ve had two or three deep vein blood clots in my life so far, and I’m only 25, along with several superficial clots – and I don’t understand why people can’t just put on a mask. Just wear it around other people. Not everything is about you. Care about other people, grow up, and do your part. Your selfishness is killing people and it’s awful to watch. Not to mention, a lot of the people that think masks are “oppression” – and we don’t have time to unpack all of that ridiculousness – are the same people claiming that the economy needs to reopen. Well, folks, I don’t want to have to go back to basics here, but is it not obvious? If the economy reopens and you don’t wear a mask, more people are going to die, and we will likely get a second wave. It’s called cause-and-effect. It’s not all that difficult.
    I want things to reopen too. I had several films get cancelled because of this, and many have lost their funding. I haven’t been on set in forever, and voice acting is great, but there’s just not enough happening at this moment in time. What I am not willing to do is see people die because I wanted to go play professional dress-up in front of a camera. We need to be careful here. Wear masks, encourage social distancing. It’s not hard. It’s really not.


 How did you get your start in the acting world?

I was very blessed to have parents and siblings with an appreciation for the art. From a very young age, I can remember my father telling me about certain things actors and singers were doing and why. I remember my mother reading stories to us and using character voices, and encouraging us as we got older to read fantasy books and use our imaginations. We didn’t have many TV channels growing up, so the vast majority of my childhood was spent with my nose in a book or playing outside with my siblings, Salon, Tori, and Austin. They’re all very different and very intelligent and very creative, and I think we all benefited from that combination of reading and adventuring in the small woods behind our house or playing in the backyard. My father is also a very funny character actor, and my mother has this genuine warmth about her, and I think both of them impacted me in that way.
    My parents put us in dance classes when we were very young, and I got to study jazz and lyrical (among other things, but those were my main focus). I always found that I was interested in the “why” of the dance instead of the “how,” which I think shows that I was leaning more into acting from that point. My older sister, Tori, was a really lovely ballerina, which I wish I had studied, but watching her and her peers perform taught me a lot about nonverbal characters. My twin sister, Salon, ended up getting a degree in dance from Bowling Green State University, and her approach to choreography and performance is really character-driven. My younger brother, Austin, is brilliant with accents and comedic timing. There must’ve been something in the food Mom and Dad used to feed us.
     Anyway, acting. My freshman year of high school, our choir director announced that they were doing Fiddler on the Roof. My parents decided to show us this movie. I wasn’t put off by it being older, since we had grown up on DVDs of The Andy Griffith Show and Gomer Pyle USMC and I Love Lucy, and I had loved movies like The Sound of Music. I watched the movie and knew I wanted to be a part of the show. I was cast as Nachum the Beggar and a Russian Soldier, and I had the time of my life. At the same time, I started in show choir at the high school, which is a choir that sings and dances and competes around the area. Throughout high school, I did all the musicals (Joseph Buquet in Phantom of the Opera, my first lead role as Captain von Trapp in The Sound of Music, and Prince Dauntless in Once Upon a Mattress) and did show choir, competing in competitions across Ohio and Indiana, and I think we went to West Virginia – maybe Kentucky too? Lots of places.
    I loved acting, but knew it wasn’t a “sure thing” as a career, so I decided to go to college for business. After a few weeks, I changed to education, and then, after much urging from both the theatre faculty and the education faculty, I changed my major to Theatre Studies and decided to do the thing. I was lucky that Capital University allowed non-theatre majors to do plays, so I had the opportunity to be on stage early in my first year there and discover that my passion for acting could actually be a lifelong endeavor.


 You attended Capitol University in Ohio…..what was your experience there like?  In your opinion,is a formal acting education better than a practical one? What do you think you got from college 
that you wouldn’t have gotten without attending school?

   I loved Capital University. I still love it. It’s a place where I was challenged and inspired. I think the very fact that my education professors were willing to push me and tell me that, even though they thought I would make a good teacher, I needed to be an actor. They were right, but I needed to hear it from people I trusted. I needed to know that it was okay to take that risk.
   I absolutely, in no way, unequivocally feel that a practical education is, in every way, superior to a formal one. That does not mean that a formal education is bad, and I would advocate for combining the two, but let’s be honest: if I’m boarding a plane flying from NYC to Berlin, do I want a pilot that has gone through four years of school and knows everything but has never flown, or do I want the self-taught pilot that’s been flying from NYC to Berlin every day for four years without incident?
    Again, I don’t mean to say that a formal education is bad. It’s not. Mine was enormously influential. I would not have a career if it were not for Dr. Bill Kennedy, Dr. Dan Heaton, Dr. Sharon Croft, Jeff Gress, and the late Mark Baker at Capital. The thing that was so wonderful about Capital was that I was taught theory – I learned aspects of Stanislavski and Strasberg and Chekhov, but I also got to learn the Kennedy method from Dr. Kennedy. I learned what I would call the Heaton method from Dr. Heaton. I developed what one might call the Gegel method, if one was bored enough to do so, which is a combination of the things that work for me. Not every strategy and theory works for everyone.
   At Capital, there was no strict dogma that was forced down my throat. I was given the opportunity to study and learn and steal what I felt would work for me. Then, it was up to me to implement it. If I hadn’t engaged with Shakespeare on an academic level, if I hadn’t learned directing and scenic design and lighting and magic from those professors, I wouldn’t be where I am. None of that is to say that I couldn’t have picked up on those things from a practical career. I think it comes down to the individual.
   To someone that is considering a formal education, I would just encourage them to look at schools and find a place that works for you as a human. Capital isn’t strictly an acting school. Most of the Theatre Studies majors weren’t necessarily there to be actors. As a result, I had this weird and eclectic group of well-spoken theatre nerds that thought differently than me and that made me a better actor. If you can’t afford school or don’t want to take those years to focus on academics, then be prepared to hustle every day. Capital was essential to my development of a network that I could work in.
  I guess, to summarize: Acting is a physical, practical career. You can only truly learn acting by acting. Because of that, the practical education will always be superior. But I do not regret my formal education, and I do not believe I would have a career without it. For me, the educational foundation allowed me to explore the practicality of it. It’s up to the individual.
   Oh, and if you are considering a formal education… check out Capital University in Columbus, Ohio. It’s a great place.



 From an actor’s point of view,why are short films so important?
    What was your experience like on your first film,”Fracture”?

    That’s a great question. Short films can almost feel like internships for an actor. They’re a chance to explore physicality and choices on a smaller scale, and to create a character arc in a short amount of time. They’re a great training ground, and a really great chance to meet and connect with other actors and with filmmakers. They can also be amazing professional experiences, and they give you a great deal of footage for an acting reel that can help you land a feature film or an agent or anything like that.
    My first film, Fracture, was definitely an interesting experience. I think we filmed it during my second year of college. The cinematographer, Dan Stemen, was in a play with me, and asked me if I wanted to be in this short film they were shooting on campus. I knew the director, Alex Caperton, and was game to try it. I had never even studied film acting before, and it was a brutal crash course in consistency between takes and being more subtle for the camera and all of the stuff that any basic technique book would tell you.
   Let that detail how important short films are, though. That cinematographer, Dan? He was the cinematographer of my feature film, Cadia: The World Within. He’s one of my best friends to this day. He’s since placed at several festivals and even won a regional EMMY Award for his lighting and camerawork. I’m blessed to know him and have had the chance to work with him so early in my career. This industry is all about the connections you make. Dan’s one of the best.


 What three things do you like most about films?
    What three things do you like about live theater?
    If given a choice,would you rather star in a revival of a known hit play or tackle a new original play and why?

Wow. Okay. Tough one there.

Three things I like most about films:

1. It’s a deeply intricate process to watch unfold, and to see everyone doing their jobs as part of the system is really beautiful in a fragile sort of way. You have to trust each person to do their jobs and do them well.

2. It’s so wildly specific. The coffee mug has to be moved by a centimeter so that the light hits it right. Your eye has to look in the eye of your scene partner that is closest to the camera so that your face is more fully framed. You have exactly forty-five minutes to shoot a whole scene before sunset and the light is gone. It’s so intense and I love it.

3. It’s a bit more immersive than theatre tends to be. Scene is in a forest? You’re likely filming in a forest. Scene in a school? You’re filming in a school. It’s very in-the-moment and it’s cool to actually be in that space.


1. The danger. If you forget a line in front of a live audience, no one is calling cut. There’s no resetting the lights and going again. You have to figure it out. You’d better hit your mark for the spotlight and remember your lyrics for the big end-of-act-one closer, or the entire audience will make fun of you at intermission.

2. Theatre tends to have a very family feel to it. In film, you often meet a co-star on the day you film a scene with them. In theatre, there are weeks of rehearsals and time and laughter. You get to know everyone and have these little inside jokes and find the right moments on stage. It’s a very tight-knit group, which makes it really sad when the run ends and the show is over.

3. It feels like you are a part of history. Film is amazing and has a rich history, but theatre has been around for thousands of years. Hamlet has been moving audiences to tears for hundreds of years. Antigone has been frustrating audiences for thousands. Hamilton has been stunning audiences for, like, five years – but to be fair, it feels like centuries. Storytelling is the oldest form of communication among humans, and carrying on that tradition in front of a live audience is a really special experience.
   As for the last question, that’s easy: I’d rather play Jean Valjean in a revival of Les Mis. It’s my favorite musical and my dream role. Other than that, I’d be happy to do either, but if given the chance, that’s the answer.


 How do you like directing and what has surprised you most in sliding behind the camera?  How do you approach a directing job versus an acting role?

   Another great question. I love directing. I love the unified vision and watching that which is in my mind became a real, tangible thing. I think the thing that surprised me is that I don’t have to know everything. That’s what the team is for. I learned that lesson pretty hard on my first film, Cadia. I put too much pressure on myself. The job is to direct, not dictate. You have to give freedom to your team to create and craft in their own ways, and trust the artists you’ve hired.
   I’ve directed a bit for theatre, and I’ve enjoyed it, but directing for film is a whole different beast. You’ve got to fight with the weather, the locations, and, most of all, the budget. It’s a really draining thing, and you really have to love it. The worst and best moments come when things fall apart, and everyone looks to you for an answer. You either give one or you make one up. There is no one else to look to. That’s a very scary and powerful moment, but if you’ve built a good team, it’s a moment that can change your film for the better.
Approaching a directing job is entirely different. With acting, it’s a very narrow focus. I make my choices, and once they put me in costume and I get on set, the magic happens and it’s lovely. In directing, there are so many minute details to keep track of. It takes a great deal of work ahead of time to plan the shots and lighting and everything you need. I learned a lot on my first film that I can’t wait to implement on this next project. Mistakes made are lessons learned, and I’m very proud of the film we made. I’m just very excited to get better.

 Tell us about your biggest project to date,”Cadia: The World Within”. How did this project come together?
     How much influence did C.S. Lewis have in your screenplay? How did Corbin Bernsen get involved with your film?

   Yeah! Cadia: The World Within is a really crazy story, and I’m honestly still shocked that it ever happened. I wrote it for three triplets, Keegan, Carly, and Tanner Sells, who I met during a production of The Addams Family Musical. I was young and naive and thought making the movie would be simple – we’d just do a goofy little thing and learn something and move on. Eventually, I realized the story could be something special, and with the help of a great deal of people more clever and capable than I, we built the project. CS Lewis definitely had an enormous impact. I’m a huge Narnia fan (Netflix, if you read this, I’m available for your adaptation). I think Lewis and JK Rowling and JRR Tolkein and Chris Paolini (Chris, if you’re reading this, let’s talk about Eragon, because you deserve a good adaptation) wielded significant impact over this story. Not just their fantasy work, either – their ability to weave spirituality and morality and create interesting characters was something I learned a lot from.
 A friend I met during a production of Hamlet, Zach Throne, offered his help in mounting the project, and we formed our company, Just a Skosh Productions LLC, which was the official version of the production company Dan Stemen (the aforementioned DP) and I had been operating under during the previous years as we honed our work on short films. Zach and I began to raise money through investors and donations, using our personal and film networks. It was a grind and it was really, really trying, but we did it.
   Eventually, the conversation turned to casting. I loved Psych and so loved Corbin Bernsen, but we certainly didn’t think that was realistic. That said, you’re a fool if you don’t try, so try we did. We made an offer and sent the screenplay, Corbin’s manager said he’s get back to us, and the next day, we learned that Corbin was in. I was floored. He’s such a gifted actor and a really genuinely kind person, and I’m really grateful to know him. He’s got some really exciting stuff in the works and I can’t wait to see what he comes out with. We were blessed to have him on this production, and he was really, really amazing in his work with the triplets and with the awesome Dillon Perry, who was another one of our leads. Corbin’s such a professional, but he’s also so down-to-earth. We were, obviously, also quite blessed to bring in James Phelps, who played Fred Weasley in the Harry Potter films. He’s incredibly gifted as an actor, and he’s a really chill, funny person. He brings so much charisma and charm to his role, and I’m really glad to have gotten to know him, too. He’s one of the good guys in this industry, and I’m so grateful to have gotten to work with him and get to know him.
 We also managed to bring in some other great actors. John Wells, whom I had done a TV pilot with, signed on as Elza, and he was perfect for the part. Nicky Buggs, who appeared in Secret Life of Bees, does a wonderful job as Alice. Rick Montgomery Jr gives a really honest, understated, lovely performance as Shiloh. We were really lucky with the whole cast. I don’t think there’s a single one of them that can’t go stride-for-stride on any film set.


 Do you feel Hollywood exploits the faith based movie genre? 

That’s a complex question. I don’t, no – but I do feel like the faith-based movie genre can sometimes exploit themselves. As someone who is a devout Christian, it really bothers me to watch Christian filmmakers and fans victimize themselves when people don’t like their movies. It often has less to do with their religious beliefs, and more to do with the simple concept that some of these movies just aren’t good. These same critics are lambasting secular films for the same reason. Poor writing, bad acting, unrealistic dialogue – people don’t like those in movies, no matter the beliefs or genre.
  I don’t think it’s exploitation to make money off of films. The Erwin brothers and the Kendricks brothers are making their films for their audiences, and for the films they are trying to make, they’re making them well. They’re making them with good intentions and with sound camera work and lighting and people enjoy them. In my opinion, they are, for the most part, making sermons, mostly for Christian audiences, and that is okay. You can’t tell me that Spotlight, which is a brilliant film, wasn’t, in some ways, a sermon of its own. It was a sermon – maybe even a dissertation? – about the corruption of the Church and the moral and legal decay that occurred. That’s an important story to tell, but it was still a specific story with a specific goal. There are more mainstream films that are still deeply Christian in nature.
    The Book of Eli. The Chronicles of Narnia. Blade Runner. The list goes on. There are different ways to approach that aspect of spirituality, and Christian films can tend to run the spectrum of being more of a sermon to being more of a general film with spiritual influence. I’ve seen other projects – most recently, I watched Unorthodox on Netflix, as well as Greenleaf (my wife was watching them, and I tangentially absorbed them) that deal with spiritual and religious realities in a different way. I don’t inherently see any as more or less valid. It seems like a deeply personal preference.

   I do think that some of the criticism of Christian films is pretty off-base – the critics aren’t exactly understanding what they films are trying to do. You don’t go see My Little Pony and write a bad review when it isn’t The Shawshank RedemptionThe Hunger Games isn’t about to be Little Women.They’re different films. Different genres. Some of these films are more about the message than the film, and that is okay. I wasn’t trying to win an Oscar with Cadia, I was trying to make a message of hope and love. It’s not the best screenplay in the world. It wasn’t supposed to be. Some of these films are labelled as “emotionally manipulative” and “trying to push religion,” and I’m, like, yeah. Of course they are. All films are trying to push something. I do think some critics get upset about the religion specifically, and I do think that is unfair. You have to evaluate the goal of the art and see it for what it is. Maybe, after you do that, the movie is still bad, and that’s entirely acceptable.
   I think it’s tough. It’s unfair to give a bad review to a movie just because you disagree with it’s messaging. You have to evaluate the art on the merit of the argument they make and how well they make it. I think it’s silly when I read reviews that say things like, “[Insert filmmaker here] was clearly trying to push their own belief system.” Yeah. Duh. Of course they were. Films are personal. Joker probably reflects some element of Todd Phillips’ truth. 1917 and Parasite both touched on the truths and beliefs of Sam Mendes and Bong Joon Ho. Queen of Katwe contains some part of Mira Nair’s understanding of the world around her.
    I don’t see why we can’t give religion the same reign. I absolutely understand condemning a film due to bigotry and hatred, but you’ll really rarely see a major religious film from a significant studio that is encroaching on that. Making a claim that Jesus Christ is the savior isn’t bigotry. As a Christian, I don’t mind watching films where they claim Jesus is only human, or that Islam is the truth, or that God is just a big imaginary friend in the sky. It’s just a different belief system. It’s art. Accept it and move on.
   It’s really very nuanced. Yes, Hollywood is willing to make films that play on the fears and anxieties of certain people, and that’s morally problematic; on the other hand, some filmmakers I know are unwilling or unable to acknowledge that their films have deep flaws. Both are problematic. I just don’t see Hollywood as being the big, bad agent of Satan that many of my peers seem to. I see Hollywood as being the business part of show business. Christian films make money, so they make Christian films. People drink coffee, so Keurig makes coffee makers. The world continues to go around the sun. That’s the way our society is structured.


You are at an audition and a fellow actor who is also trying for the same role as you asks for your help. Are you helping them or not and why?

   Of course. No debate. I’ll help them in a heartbeat, and I’d hope they do the same. Casting isn’t up to me to begin with. We should all be supporting each other to begin with. I remember auditioning for The Little Mermaid. I did all my work as best as I could, and I sang the song as well as I could, and I think I did a good job. I did the best job I could.
 Then Jordan Young started singing and he blew me out of the water. I knew I had lost the part. I found him after the audition and congratulated him. We became friends, and we still support one another. I’ve even sent auditions to friends and they’ve beaten me for the part. It’s not a competition. Casting is going to cast the actor that they want, and the only thing we can control is our own performance. Anyone who answers otherwise to this question is a sad excuse for an actor and should get out of the industry now. That’s a toxic attitude and it’s problematic.


 How did you meet your wife and how do the two of you balance your personal life and professional one? 

    We met in college in a Public Relations class at Capital. Became friends and started dating. We started dating my junior year and got engaged at the end of my senior year. We got married the summer after, a few weeks after she graduated. Since then, we’ve moved to Philadelphia, where she’s begun her studies at seminary to become a pastor in the ELCA. A lot of balancing our lives is understanding the weirdness of what we do – she is going to be shepherding churches and be with people during their dying moments and counsel people through the hardest moments of their lives, and I leave for days/weeks/months on a job and pretend to be someone else and sometimes work fifteen hour days in the sun and all the other things. Which also describes being a spy. That would be cool too, I guess.

  It takes balance. I told her when we first started dating that my career is weird and that it would just have to be accepted, and we’ve since had the same discussion about hers. It’s an adventure.
   Our personal lives are pretty simple. We like to cook. We like to watch shows and movies together. We just finished Avatar: The Last Airbender. We play a lot of Call of Duty. We play a lot of board games. It’s a simple life, to quote Rogue One.

The cheetah and I are flying over to watch you shoot your latest film but we are a day early and now you are stuck playing tour guide,what are we doing?   

Ooh. I’m going to answer this for two cities: my Philly/NYC work, and my directing work back in Columbus, which I where I prefer to shoot my films.

Philly/NYC: We’re definitely hitting up the Liberty Bell and Constitution Center, because they’re just plain neat. Then we’ll stroll through Love Park and probably head to the Rocky Steps. If we’ve got time, we’ll do a quick hike at the Wissahickon and enjoy the forest there, maybe even spot some river otters. Then we’ll grab a cheese steak (I haven’t had one since I moved here, so I’ll be a tourist with you) and maybe try to catch a play at the Arden or the Walnut Street Theatre.


If I’m filming in NYC, we’ll keep it simple. Walk through Central Park, grab some bubble tea, then people watch for as long as we can before we grab tacos at Oaxaca Taqueria in Hell’s Kitchen. Chill day.

If we’re in Columbus, we’re going to run the obstacle course at the Scioto Audubon, grab a light snack at Stauf’s Coffee, and explore the thirty-two room labyrinthian bookstore known as the legendary Book Loft. Then we’ll maybe catch an afternoon game with the Columbus Clippers before grabbing a coffee at the Roosevelt Coffeehouse, dinner at Schmidt’s Sausage Haus or The Thurman Cafe, and then see the Actors’ Theatre of Columbus do some Shakespeare in the park. That’ll be a fun day.


I like to thank Cedric for taking the time in giving us a top level interview. I enjoyed getting to know Cedric through his words and have nothing but respect for him and his vision. We’re looking forward to seeing Cedric’s work both in front and behind the camera. Of course we’re also praying for Cedric and his bionic arm to stay healthy as well!!

You can follow Cedric’s career via his Social Media.


Cedric’s IMDb page

 Cedric’s Podcast: You can find it here and on Spotify

Cedric’s Twitter

Cedric’s Instagram page

Cedric’s Facebook page

Cedric’s YouTube Channel

Cedric’s personal website

Feel free to drop a comment below!!

3 thoughts on “8 Questions with……….actor/director Cedric Gegel

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